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Ex  Libris 
C.  K.  OG-DEN 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


A  N 


ESSAY 


O  N    T  H  E 


THEORY 

OF 

PAINTING. 


By  Mr. Richardson. 


The  Second  Edition,  Enlarg'd,  and  Corre&ed. 


Is  mihi  vlvere  demum,  atque  frui  a?2tma  vide- 
fur,  qui  aliquo  Negotio  intentus^  praclari  fa- 
cinoriS)  aut  Artis  bona  f amain  quarit. 

Sallust. 

Ho  fenito  dire  (a  Michelagnolo)  che  Raffaello 
non  belle  quefi3  arte  de  Natura,  ma  per  Lungo 
Studio. 

Afcanio  Condiui  nella  Vita  di  Michelagnolo  Buonarroti, 


LONDON: 

Printed  for  A.  C.  and  fold  by  A.  BETTEsweRTH 
in  Pater-nofter-Row+     1 7  25. 


( is ) 


U30 
"R59e 
'4  5 


HIS  Bbol>  bcinz  out 
of  Tnnt,  and  a  new 
Edition  de fired,  I  haXe 
Retouched  it  :  The 
(publicly  did  forgive 
the  Incorrcclneffes  of 
an  Author  that  was 
endeavouring  to  fer\>e  Tliem,  together 
with  a  Noble,  lifeful,  and  Delightful 
Art^  but  who  pretends  only  td  write  as 
a  (painter,  and  a  Gentleman  5  This  In- 
dulgence however  has  not  encouragd  me 
to  let  any  faults  pafs  that  I  hdVe  Ngw 
obferVd,  fo  that  I  hope  their  Number 
is  fomewhat  diminijbed  5  And  I  mu/i  do 
myfelf  the  right  to  fay  that  I  haVe  had 
the  (pleafure  of  finding  1  had  nothing  to 
(ftetratl,  which  I  Jhould  not  haVe  faitd 
to  have  done  had  I  difco^erd  any  wrong 
Judgment. 

A   i  I  have 

2015211 


(iv) 

I  have  made  federal  Additions,  parti" 
cularty  of fome  Examples  from  Pictures 
which  I  had  not  Jeen  when  I  fir  ft  wrote, 
or  which  did  not  Then  occur  to  me  5  More 
might  hcCVt  been  added  but  that  they  are 
to  be  found  in  great  Plenty  featured  up 
and  down  in  the  other  Vifcourfes  1  haVe 
(pubhjbd  fince  the  fir  ft  Edition  of  This* 

TIx  Chapter  of  the  Subiune  was  then 
but  enter  d  upon,  and  recommended  to  fome 
other  Handy  1  haVe  Now  attempted fome- 
thing  upon  that  Noble  Branch  of  my  Sub" 
jeEt,  ft  ill  wiflnng  however  that  One  more 
capable  of  it  would  do  it  (Better  5  but 
This  I  haVe  done  that  I  might  perfect 
the  whole  Defign  as  well  as  I  could.  And 
for  the  fame  <$(eafon,  and  becaufe  1  find 
there  is  more  Occafion  for  it  than  I 
thought  heretofore,  I  will  take  this  Op" 
portunity  a  little  to  profecute  what  I  haVe 
fometimes  only  touched,  which  is,  to  Com" 
bat  a  Falfe  Tafte,  and  a  Very  Low  one  5 
a  Tafte  Jo  Falfe }  and  fo  Low,  as  to  Inui" 

gitii 


Cv) 

gine  the  Meaneji  Tarts  of  Tainting  to  be 
the  Whole ,  or  the  Perfection  of  it. 

The  great  (Bujtnefs  of  Tainting  I  have 
often  faid,  and  would  fain  inculcate,  is 
to  relate  a  Hiliory,  or  a  Fable,  as  the 
heft  Hiflorians,  or  Poets  have  done 5  to 
make  a  Portrait  fo  as  to  do  Juflice  at 
leafl,  and  Sometimes  not  without  a  little 
Complaifance  3  and  that  to  the  Mind,  as 
well  as  to  the  Face,  andPerfon  3  To  repre* 
fent  Nature,  or  rather  the  Befl  of  Na- 
ture 3  and  where  it  can  be  done,  to  ^lU'ife 
and  Improve  it  3  to  give  all  the  Grace 
and  Dignity  the  SubjeB  has,  all  that  a 
well  inflrutled  Eye  can  difcoVer  in  it,  or 
which  fuch  a  Judgment  can  find  'tis  Ca- 
pable of  in  its  moft  Adyantagious  Mo- 
ments. 

Neatnefs,  and  high  Fmifhing  3  a 
Light,  (Bold  Pencil  3  Gay,  and  Vivid 
Colours,  Warm,  and  Sombrous  3  Force ,  and 
Tendernefs,  All  thefe  are  Excellencies 
when  judicioujly  employ  d,   and  in  Sub- 

JerViency 


(  vi  ) 

JerViency  to  the  (principal  End  of  the  Art  5 
But  they  are  Beauties  of  an  Inferwur 
I\jnd  e'Ven  when  So  employ d$  they  are 
the  Mechanicians  of  Painting,  and  re- 
quire no  more  Genius,  or  Capacity,  than 
ts  ncceffary  toy  and  frequently  feen  in  Or- 
dinary Workjnen  ;  and  a  PiElure,  in  This 
rejpett,  is  as  a  Snuff-Box,  a  Fan,  or 
any  other  Toy  5  Theje  properties  are  in 
Painting,  as  Language,  ($$hime,  and 
Numbers  are  in  Poetry  3  and  as  he  that 
flops  at  Tliefe  as  at  what  Confiitutes  the 
Coodnefs  of  a  Poem  is  a  Bad  Critic^,  He 
is  an  III  Connoifleur  who  has  the 
fame  Confederation  for  theje  Inferwur  Ex- 
cellencies in  a  PiElure. 

How  much  more  if  for  the  fake  of 
Theje,  a  PiElure  is  efetemed  where  the 
Story  is  III  told,  and  Nature  is  111  repre- 
fented,  or  not  well  chojen:  If  it  beima* 
gind  to  be  good,  becau/e  a  Piece  of  Lacty 
or  Brocade,  a  Fly,  a  Flower,  a  Wrinkk, 
a  Wart,  is  highly  fin/hd,  and  {if 
you  pleafe)    Natural,    and   well   in    its 

Kind 


(  vii  ) 

iQnd  3  or  becaufe  the  Colours  are  ViYtd, 
or  the  Lights  and  Shadows  Strong,  though 
the  Ejfential  Tarts  are  without  Grace  or 
Dignity,  or  are  even  (Ridiculous. 

And  JIM  more  if  though  there  is  Jeen 
much  Labour  not  thofe  Trifles  Tbem- 
fefoes  are  Well,  and  the  <I(eJl  is  Execrable. 

Carlo  Maratta,  in  a  Very  Capital 
Drawing  I  haVe  feen,  (amongji  many 
others)  in  the  ColleElion  of  Mr.  Dave- 
nant,  has  reprefented  Tainting  j  Tis, 
indeed,  a  fort  of  Treatife  on  the  Art  $ 
There  is  TerfpeEl'iVe,  Geometry,  and 
Anatomy,  each  with  the  Motto,  Tanco 
che  Bafti  5  Antique  Statues  with  this, 
Non  mai  a  baftanza  5  oyer  all,  the 
Graces  defcending  in  Clouds,  the  Motto 
here  is  Senza  di  Noi  ogni  Facica  e 
vana. 

A  fine  Thought,  Grace,  and  Dignity, 
will  abundantly  attone  for  the  want  of 
CVen  a  Due  Application  to  the  Leffer,  to 

z  the 


(  viii  ) 

the  Mechanical  Tarts  of  a  TiElure ;  but 
when  Tliefe  are  Only,  or  Chiefly  regarded, 
it  puts  one  in  mind  of  what  Hudibras 
fays  of  His  Fanaticks 

Who  with  more  Zeal  kept  Holiday 
The  Wrong,  than  others  the  Right  way. 


A  N 


A  N 


ESSAY 

ON  THE 

THEORY 

O  F 

P  Al  NTING. 

E  c  A  u  s  E  Pictures  are  uni- 
verfally  Delightful,  and 
accordingly  made  one  pare 
of  our  Ornamental  Furni- 
ture, many,  I  believe,  confider  the 
Art  oiTaijiting  but  as  a  pleafing  Su- 
perfluity j  at  beft,  that  it  holds  but 
a  low  Rank  with  refpedt  to  its  Ufeful- 
nefs  to  Mankind. 

B  If 


CO 

If  there  were  in  reality  no  more 
in  it  than  an  Innocent  Amufementj 
if  it  were  only  one  of  thofe  Sweets 
that  the  Divine  Providence  has  be- 
ftow'd  on  us,  to  render  the  Good 
of  our  prefent  Being  fuperior  to  the 
Evil  of  it,  it  ought  to  be  confider'd 
as  a  Bounty  from  Heaven,  and  to 
hold  a  Place  in  our  Efteem  accord- 
ingly.    Pleafure,  however  it  be  de- 
preciated, is  w  hat  we  all  eagerly  and 
inceiTantly  purfue  $  and  when  Inno- 
cent, andconfecjuently  a  Divine  Be- 
nefaction, 'tis  to  be  confider'd  inThat 
View,   and  as  an  Ingredient  in  Hu- 
mane Life,  which  the  Supreme  Wif- 
dom  has  judg'd  neceflary, 

Painting  is  that  Pleafant,  Inno- 
cent Amulement.  But  'tis  More  3 
'tis  of  great  Ufe,  as  being  one  of  the 
means  whereby  we  convey  our  Ideas 
to  each  other,  and  which  in  fome 
refpe&s  has  the  Advantage  of  all 
the  reft.  And  thus  it  muft  be  rank'd 
with  Thefe,  and  accordingly  efteem'd 

not 


(  3) 

not  only  as  an  Enjoyment,  but  as 
another  Language,  which  completes 
the  whole  Art  of  communicating 
our  Thoughts  3  one  of  thofe  parti- 
culars which  raifes  the  Dignity  of 
Human  Nature  fo  much  above  the 
Brutes  3  and  which  is  the  more  con- 
fiderable,  as  being  a  Gift  bellowed 
but  upon  a  Few  even  of  our  own 
Species. 

Words  paint  to  the  Imagination, 
but  every  Man  forms  the  thing  to 
himfelf  in  hisOwn  way  :  Language 
is  very  Imperfed  :  There  are  innu- 
merable Colours,  and  Figures  for 
which  we  have  no  name,  and  an 
infinity  of  other  Ideas  which  have  no 
certain  Words  univerfally  agreed  up- 
on as  denoting  them  3  whereas  the 
Painter  can  convey  his  Ideas  of  thefe 
Things  Clearly,  and  without  Ambi- 
guity 3  and  what  he  fays  every  one 
underftands  in  the  Senfe  he  intends 
it. 

B   2  And 


And  this  is  a  Language  that  is  U- 
niverfal  5  Men  of  all  Nations  hear 
the  Poet,  Moralift,  Hiftorian,  Di- 
vine, or  whatever  other  Character 
the  Painter  aflumes,  fpeaking  to 
them  in  their  own  Mother  Tongue. 

(painting  has  another  Advantage 
over  Words,  and  that  is,  it  Pours 
Ideas  into  our  Minds,  Words  only 
Drop  'em.  The  whole  Scene  opens 
at  one  View,  whereas  the  other  way 
lifts  up  the  Curtain  by  little,and  lit- 
tle :  We  fee  (for  Example)  the  fine 
Profped:  at  Conftantinople,  an  Erupti- 
on of  Mount  JEtna,  the  Death  of 
Socrates,  the  Battel  of  Blenheim,  the 
Perfon  of  King  Charles  the  Firft,  &c. 
in  an  inftant. 

The  Theatre  gives  us  Reprefen- 
tations  of  Things  different  from 
both  thefe,  and  a  kind  of  Compofi- 
tion  of  both  :  There  we  fee  a  fort  of 
moving,  fpeaking  Pi&ures,  but  thefe 
areTranfient  5  whereas  Painting  re- 
mains, and  is  always  at  hand.  And 

what 


( <>> 

what  is  more  considerable,  the  Stage 
never  reprefents  thingsTruly,  efpeci- 
ally  if  the  Scene  be  Remote,  and  the 
Story  Ancient.  A  Man  that  is  ac- 
quainted with  the  Habits,  and  Cu- 
ftoms  of  Antiquity,  comes  to  revive 
'  or  improve  his  Ideas  relating  to  the 
Misfortune  of  OEdipus,  or  the  Death 
of  Julius  defar,  and  finds  a  fort  of 
Fantaftical  Creatures,  the  like  of 
which  he  never  met  with  in  any 
Statue,  Bas-Relief,  or  Medal  5  his 
juft  Notions  of  thefe  Things  are 
all  contradicted  and  difturb 'd.  But 
Painting  {hews  us  thefe  brave  Peo- 
ple as  they  were  in  their  own  ge- 
nuine Greatnefs,  and  noble  Simpli- 
city. 

The  Pleafure  that  Vainting,  as  a 
Dumb  Art,  gives  us,  is  like  what 
we  have  from  Mufick  5  its  beautiful 
Forms,  Colours  and  Harmony,  are 
to  the  Eye  what  Sounds,  and  the 
Harmony  of  that  kind  are  to  the 
Ear  j  and  in  both  we  are  delighted 
B  3  in 


(  6  > 

in  obferving  the  Skill  of  the  Artift 
in  proportion  to  It5    and  our   own 
Judgment  to  diicover  it.     'Tis  this 
Beauty  and  Harmony   which  gives 
us  fo  much  Pleafure  at  the  Sight  of 
Natural  Pi&ures,  a  Profpeft,  a  fine 
Sky,  a  Garden,  &c.    and  the  Co- 
pies of   thefe,  which  renew  the  I- 
deas  of  'em,  are  confequently  Plea- 
fant  :    Thus  we  fee  Spring,    Sum- 
mer and  Autumn,  in   the  depth  of 
Winter  3    and    Froft    and  Snow,  if 
we  pleafe,  when  the  Dog-Scar  rages. 
By  the  help  of  this  Art  we  have  the 
Pleafure  of  feeing  a  vaft  Variety  of 
Things  and  Adtions,   of  travelling 
by  Land  or  Water,  of  knowing  the 
Humours  of  Low  Life  without  mix- 
ing with  it,  of  viewing  Tempefts, 
Battels,  Inundations  5  and,  infhort, 
of  all  Real  or  Imagind  Appearances 
in  Heaven,  Earth,    or  Hell  5    and 
this  as  we  fit  at  our  Eafe,   and  caft 
our  Eye  round  a  Room  :    We  may 
ramble  with  Delight  from  one  Idea 

to 


(7) 

to  another,  or  fix  upon  Any  as  we 
pleafe.  Nor  do  we  barely  fee  this 
Variety  of  Natural  Obje&s,  but  in 
Good  Pictures  we  always  fee  Nature 
Improv'd,  or  at  leaft  the  beft  Choice 
of  it-  We  thus  have  nobler  and 
finer  Ideas  of  Men,  Animals,  Land- 
scapes, <src.  than  we  fliould  perhaps 
have  ever  had  5  We  fee  particular 
Accidents,  and  Beauties  which  are 
rarely,  or  never  feen  by  us  $  And  all 
this  is  no  inconfiderable  Addition  to 
the  Pleafure. 

And  thus  we  fee  the  Perfons  and 
Faces  of  Famous  Men,  the  Origi- 
nals of  which  are  out  of  our  reach, 
as  being  gone  down  with  the  Stream 
of  Time,  or  in  diftant  Places  :  And 
thus  too  we  fee  our  Relatives  and 
Friends,  whether  Living  or  Dead,  as 
they  have  been  in  all  the  Stages  of 
Life.  In  Picture  we  never  die,  ne- 
ver decay,  or  grow  older. 

But  when  we  come  to    confider 

this  Art  as  it  informs  the  Mind,  its 

B  4  Merit 


c  8  J 

Merit  is  rais'd  5  it  ftill  gives  Plea- 
fure,  but  'tis  not  Merely  fuch  3  The 
PainterNow  is  not  only  what  a  wife 
Orator  who  is  a  beautiful  Perfon,  and 
has  a  graceful  Action  is  to  a  deaf 
Man,  but  what  fuch  a  one  is  to  an 
underftanding  Audience. 

And  thus  Painting  not  only  {hews 
us  how  Things  Appear,  but  tells  us 
what  they  Are  3  We  are  inform'd  of 
Countries,  Habits,  Manners,  Arms, 
Buildings  Civil,  and  Military,  Ani- 
mals, Plants,  Minerals  3  and  in  fine, 
of  all  kinds  of  Bodies  whatfoever. 

This  Art  is  moreover  fubfervient 
to  many  other  ufeful  Sciences  3  it 
gives  the  Architect  his  Models  3  to 
Phyficians  and  Surgeons  the  Tex- 
ture, and  Forms  of  all  the  Parts  of 
Human  Bodies,  and  of  all  the  Thoe- 
nomena  of  Nature.  All  Mechanicks 
ftand  in  need  of  it.  But  'tis  not  ne- 
ceflary  to  enlarge  here,  the  many 
Explanatory  Prints  in  Books,  and 
without  which  thofe  Books    would 

in 


(  9   >    . 

in  a  great  meafure  be  unintelligible, 
fufficiently  (hew  the  Ufefulnefs  of 
this  Art  to  Mankind. 

I  pretend  not  to  go  regularly  thro' 
all  Particulars,  or  Here,  or  Elfe- 
where  throughout  this  whole  Un- 
dertaking to  fay  All  that  is  to  be 
faid  on  this  Subjedt  $  I  write  as  the 
Scraps  of  Time  I  can  allow  my  felf 
to  employ  This  way  will  permit  me$ 
and  I  write  for  my  own  Diverfion, 
and  my  Son's  Improvement,  (who 
well  Deferves  all  the  Afliftance  I  can 
give,  though  he  Needs  it  as  little  as 
moll  Young  Men  $  to  whom  I  mud 
do  this  farther  Juftice,  as  to  own, 
that  I  am  beholden  to  Him  in  My 
turn  for  fome  confiderable  Hints  in 
this  Undertaking.)  And  if  more- 
over  what  I  write  may  hereafter 
happen  to  be  of  ufe  to  any  body  elfe, 
whether  it  be  to  put  a  Lover  of  Art 
in  a  Method  to  judge  of  a  Picture, 
(and  which  in  moft  things  a  Gen- 
tleman may  do  altogether  as  well  as 

a 


(IO) 

a  Painter)  or  to  awaken  fome  ufeful 
Hints  in  fome  of  my  own  ProfefiSon  $ 
at  lead  to  perfuade  fuch  to  do  no 
Difhonour  to  it  by  a  low  or  vicious 
Behaviour  3  If  thefe  Conferences 
happen,  it  will  be  a  Satisfaction  to 
me  over  and  above.  But  to  return, 
and  to  come  to  what  is  moft  mate- 
rial. 

(Painting  gives  us  not  only  the 
Perfons,  but  the  Characters  of  Great 
Men.  The  Air  of  the  Head,  and 
the  Mien  in  general,  gives  ftrong 
Indications  of  the  Mind,  and  illu- 
ftrates  what  the  Hiftorian  fays  more 
exprefsly,  and  particularly.  Let  a 
Man  read  a  Character  in  my  Lord 
Clarendon,  (and  certainly  never  was 
there  a  better  Painter  in  that  kind) 
he  will  find  it  improv'd  by  feeing 
a  Picture  of  the  fame  Perfon  by  Van 
T>yck;  Painting  relates  the  Hiftories 
of  Paft,  and  Prefent  Times,  the 
Fables  of  the  Poets,  the  Allegories 
of  Moralifts,  and  the  good  Things 

of 


pf  Religion  3  and  confequently  a  Pi- 
cture, befides  its  being  a  pleafanc 
Ornament,  befides  that  'tis  ufeful  to 
Improve  and  InftruCt  us,  'tis  great- 
ly mftrumental  to  excite  proper  Sen- 
timents and  Reflections,  as  a  Hifto- 
ry,  a  Poem,  a  Book  of  Ethicks,  or 
Divinity  is  :  The  truth  is,  they  mu- 
tually aflift  one  another. 

By  Reading,  or  Difcourfe,  we 
learn  fome  Particulars  which  we  can- 
not have  otherwife  3  and  by  Paint- 
ing we  are  taught  to  form  Ideas  of 
what  we  read  3  we  fee  thofe  things 
as  the  Painter  faw  'em,  or  has  im- 
proved 'em  with  much  Care  and  Ap- 
plication 3  and  if  he  be  a  <%afaelley 
a  Giulio  (Romano,  or  fome  fuch  great 
Genius,  we  fee  'em  better  than  any 
one  of  an  Inferiour  Character  can, 
or  even  than  one  of  Their  Equals, 
without  that  degree  of  Reflection 
they  had  made,  poflibly  could.  Af- 
ter having  read  Milton,  one  fees  Na- 
ture with  better  Eyes   than  before, 

Beauties 


Beauties  appear  which  elfe  had  been 
unregarded  :  So  by  converting  with 
the  Works  of  the  beft  Mafters  in 
Painting,  one  forms  better  Images 
whilft  we  are  Reading, or  Thinking. 
I  fee  the  Divine  Airs  o{<%afaelle  when 
I  read  any  Hiftory  of  our  Saviour, 
or  the  Blefled  Virgin  5  and  the  Aw- 
ful ones  he  gives  an  Apoftle  when  I 
read  of  their  Actions,  and  conceive 
of  thofe  Actions  that  He,  and  Other 
great  Men  defcribe  in  a  Nobler  man- 
ner than  otherwife  I  fhould  ever 
have  done.  When  I  think  of  the 
ftory  of  the  ©ra/,  or  that  of  the 
three  hundred  Lacedemonians  at  Thzr~ 
tnopyU,  1  fee  them  with  fuch  Faces 
and  Attitudes,  as  Michelangelo ,  or 
Giulio  (Romano  would  have  given  'em  5 
and  Venus  and  the  Graces  I  fee  of  the 
Hand  of  Tarmeggtano  5  and  fo  of  o* 
ther  Subjects. 

And  if  my  Ideas  are  raifed,  the 

Sentiments  excited  in  my  Mind  will 

be   proportionably   improved.     So 

1  that 


('3) 

that  fuppofing  two  Men  perfe&ly 
Equal  in  all  other  refpe&s,  only  one 
is  converfant  with  the  Works  of  the 
beft  Mafters  (well  chofen  as  to  their 
Subjects)  and  the  other  not  3  the 
former  fliall  neceflarily  gain  the  Af- 
cendant,  and  have  nobler  Ideas, 
more  Love  to  his  Country,  more 
moral  Virtue,  more  Faith,  more 
Piety  and  Devotion  than  the  other  5 
he  fliall  be  a  more  Ingenious,  and  a 
Better  Man. 

To  come  to  Portraits  $  the  Pi£frire 
of  an  abfent  Relation,  or  Friend, 
helps  to  keep  up  thofe  Sentiments 
which  frequently  languifh  by  Abfence 
and  may  be  inftrumental  to  main- 
tain, and  fometimes  to  augment 
Friendfhip,  and  Paternal,  Filial,  and 
Conjugal  Love,  and  Duty. 

Upon  the  fight  of  a  Portrait,  the 
Character,  and  Mafter-ftrokes  of  the 
Hiftory  of  the  Perfon  it  reprefents 
are  apt  to  flow  in  upon  the  Mind, 
and  to  be  the  Subjeft  of  Converfa- 

tion: 


(  '4  ) 

tion :  So  that  to  fit  for  one  s  Pidure, 
is  to  have  an  Abftra6l  of  one's  Life 
written, and published,  and  ourfelves 
thus  confign'd  over  to  Honour,  or 
Infamy.  1  know  not  what  Influence 
this  has,  or  may  have,  but  methinks 
'tis  rational  to  believe  that  Pictures 
of  this  kind  are  iiibfervient  to  Vir- 
tue 5  that  Men  are  excited  to  imi- 
tate the  Good  Actions,  and  perfuad- 
ed  to  fliun  the  Vices  of  thofe  whole 
Examples  are  thus  fet  before  them  $ 
ufeful  Hints  muft  certainly  be  fre- 
quently given,  and  frequently  im- 
proved into  Practice  :  And  why 
iliould  we  not  alfo  believe,  thatcon- 
fidering  the  violent  Third  of  Praife 
which  is  natural,  efpecially  in  the 
nobleft  Minds,  and  the  better  fort  of 
People,  they  that  fee  their  Pictures 
are  let  up  as  Monuments  of  Good, 
or  Evil  Fame,  are  often  fecretly  ad- 
moniflid  by  the  faithful  Friend  in 
their  own  Breafts  to  add  new  Graces 
to  them  by  Praife-worthy  Actions, 

and 


(  i$) 

and  to  avoid  Blemiflies,  or  deface 
what  may  have  happened,  as  much 
as  poflible,  by  a  future  good  Con- 
duct. A  Flattering  Mercenary  Hand 
may  reprefentmy  Face  with  a  Youth, 
or  Beauty,  which  belongs  not  to 
me,  and  which  I  am  not  one  jot 
the  Younger,  or  the  Handfomer  for, 
though  I  may  be  a  juft  Subjedt  of 
Ridicule  for  Defiring,  or  Suffering 
fuch  Flattery  :  But  I  my  felf  mult 
lay  on  the  mod  durable  Colours, 
my  Own  Conduit  gives  the  boldeft 
Strokes  of  Beauty,  or  Deformity. 

I  will  add  but  one  Article  more 
in  Praife  of  this  Noble,  Delightful, 
and  Ufeful  Art,  and  that  is  this  5 
The  Treafure  of  a  Nation  confifts 
in  the  pure  Productions  of  Nature, 
or  thole  managed,  or  put  together, 
and  improv'd  by  Art  :  Now  there  is 
no  Artificer  whatfoever  that  pro* 
duces  lo  Valuable  a  thing  from  fuch 
Inconfiderable  Materials  of  Nature's 
furnifliing,  as  the  Painter  $  putting 

the 


(  i6) 

the  Time  (for  chat  alfo  mud  be 
confider'd  as  one  of  thofe  Materials) 
into  the  Account  :  Tis  next  to 
Creation.  This  Nation  is  many 
Thoufands  of  Pounds  the  richer  for 
Van-Vycl^s  Hand,  whofe  Works  are  as 
current  Money  as  Gold  in  moft  parts 
of  Europe,  and  this  with  an  incon- 
fiderable  Expence  of  the  Producti- 
ons of  Nature  $  what  a  Treafure  then 
have  all  the  Great  Mafters  here,  and 
elfewhere  given  to  the  World  ! 

'Tis  nothing  to  the  purpofe  to 
fay,  by  way  of  Objection  to  all  this, 
that  the  Art  has  alfo  been  fubfervi- 
ent  to  Impiety,  and  Immorality  5 
1  own  it  has  •,  but  am  fpeaking  of 
the  thing  it  felf,  and  not  the  Abufe 
of  it  :  a  Misfortune  to  it  in  com- 
mon with  other  excellent  things  of 
all  kinds,  Poetry,  Mufick,  Learn- 
ing, Religion,  &r. 

Thus  Painters,  as  well  as  Hifto- 
rians,  Poets,  (philofophers,  Divines,  <?c. 
confpire  in  their  feveral  ways  to  be 

fervice- 


('7) 

able  to  Mankind  5  but  not  with  an 
equal  degree  of  Merit,  if  that  Merit 
is  to  be  eftimated  according  to  the 
Talents  requifice  to  excel  in  any  of 
thefe  Profeflions. 

But  (by  the  way)  'tis  not  every 
PiEture-Maker  that  ought  to  be  cal- 
led a  (painter,  as  every  (Rhymer,  or 
Grubjireet  Tale-Writer  is  not  a  Poet, 
or  Hijiorian  :  A  Painter  ought  to  be 
a  Title  of  Dignity,  and  underftood 
to  imply  a  Perfon  endued  with  fuch 
Excellencies  of  Mind,  and  Body,  as 
have  ever  been  the  Foundations  of 
Honour  amongft  Men. 

He  that  Paints  a  Hiftory  well, 
muft  be  able  to  Write  it  $  he  muft 
be  throughly  informed  of  all  things 
relating  to  it,  and  conceive  it  clear- 
ly, and  nobly  in  his  Mind,  or  he 
can  never  exprefs  it  upon  the  Can- 
vas :  He  muft  have  a  folid  Judg- 
ment, with  a  lively  Imagination, 
and  know  what  Figures,  and  what 
Incidents  ought  to  be  brought  in, 
C  and 


(  '8) 

and  what  every  one  fhould  Say,  and 
Think.     A  Painter  therefore  of  this 
Clafs  muft  poflefs  all  the  good  Qua- 
lities requisite  to  an  Hiftorian  $  un- 
lefs   it   be    Language  (which  how- 
ever feldom  fails  of  being  Beautiful, 
when  the  thing  is  clearly,  and  well 
conceiv'd.)    But  this  is  not  fufficient 
to   him,  he  muft   moreover  know 
the  Forms  of  the  Arms,  the  Habits, 
Cuftoms,  Buildings,  ire,  of  the  Age, 
and  Countrey,  in  which  the  thing 
was  tranfadted,  more  exa&ly   than 
the  other  needs  to  know  'em.      And 
as  his  Bufinefs  is   not  to  write  the 
Hiftory  of  a  few  Years,    or  of  One 
Age,  or  Countrey,  but  of  All  Ages, 
and  All  Nations,  as  occafion  offers, 
he  muft  have  a  proportionable  Fund 
of  Ancient,  and  Modern  Learning 
of  all  kinds. 

As  to  Paint  a  Hiftory,  a  Man 
ought  to  have  the  main  Qualities  of 
a  good  Hiftorian,  and  fomething 
more  5  he  muft  yet  go  higher,  and 

have 


( IP) 

have  the  Talents  requilTte  to  a  good 
Poet  5  the  Rules  for  the  Conduit  of 
a  Picture  being  much  the  fame  with 
thofe  to  be  obferved  in  writing  a 
Poem  3  and  Tainting,  as  well  as  (poe- 
try, requiring  an  Elevation  of  Geni- 
us beyond  what  pure  Hiftorical 
Narration  does  3  the  Painter  muft 
imagine  his  Figures  to  Think,  Speak, 
and  A6t,  as  a  Poet  fhould  do  in  a 
Tragedy,  or  Epick  Poem  3  efpeci- 
ally  if  his  Subjedt  be  a  Fable,  or 
an  Allegory.  If  a  Poet  has  more- 
over the  Care  of  the  Di&ion,  and 
Verfification,  the  Painter  has  a 
Task  perhaps  at  leaft  Equivalent  to 
That,  after  he  has  well  conceived 
the  thing  (over  and  above  what  is 
merely  Mechanical,  and  other  par- 
ticulars, which  fliall  be  fpoken  to 
prefently)  and  that  is  the  Know- 
ledge of  the  Nature,  and  Effeds  of 
Colours,  Lights,  Shadows,  Reflec- 
tions, tsrc.  And  as  his  Bufinefs  is 
not  to  compofe  One  Iliad,  or  One 
C  %  Jineid 


(    2°) 

JEne'id  only,  but  perhaps  Many,  he 
muft  be  furnifti'd  with  a  Vaft  Stock 
of  Poetical,  as  well  as  Hiflorkal  Lear- 
ning. 

Befides  all  this,  'tis  abfolutely  ne- 
ceflary  to  a  Hiftory-Painter  that  he 
underftands  Anatomy,  Ofteology,  Geo- 
metry, (Perfyettive,  ArchiteElure,  and 
many  other  Sciences  which  the  Hi- 
ftorian,  or  Poet,  has  little  occafion 
to  know. 

He  muft  moreover  not  only  See, 
but  thoroughly  Study  the  Works  of 
the  moft  excellent  Mafters  in  Paint- 
ing, and  Sculpture,  Ancient,  and 
Modern  5  for  though  fome  few  have 
gone  vaft  Lengths  in  the  Art  by 
the  Strength  of  their  own  Genius, 
without  Foreign  Afliftance,  thefe  are 
Prodigies,  the  like  Succefs  is  not 
ordinarily  to  be  expected  5  nor  have 
even  Thefe  done  what  probably  they 
would  have  done  with  the  Advanta- 
ges the  Study  of  other  Mens  Works 
would  have  given  them.  I  leave  Vajari 

and 


(-21  ; 

and  Mellon  to  difpute  whether  <$a- 
faelle  was  beholden  to  Michelangelo  s 
Works  for  the  Greatnefs  of  his  Style, 
but  that  he  Improv'd  upon  his  com- 
ing to  (%ome,  and  made  Advantages 
from  what  he  faw  there  is  income- 
ftable.  Nor  am  I  certain  that  Co- 
reggio  faw  the  S.  Cecilia  of  ^afaelle  at 
Bologna,  as  has  been  aflerted,  but 
that  he  would  have  been  the  better 
for  it  if  he  had  feen  That,  and  o- 
ther  Works  of  that  Mafter,  I  can 
eafily  believe. 

To  be  a  good  Face-Painter,  a 
degree  of  the  Hiftorical,  and  Poeti- 
cal Genius  is  requifite,  and  a  great 
Meafure  of  the  other  Talents,  and 
Advantages  which  a  good  Hiftory- 
Painter  muft  poflfefs  :  Nay  fome  of 
them,  particularly  Colouring,  he 
ought  to  have  in  greater  Perfection 
than  is  abfolutely  negeflary  for  a 
Hiftory-Painter. 

'Tis  not  enough  to  make  aTame, 

Jniipid  Refemblance  of  the  Features, 

C?  fa 


(  22  ; 

fo  that  every  body  (hall  know  who 
the  Pi&ure  was  intended  for,  nor 
even  to  make  the  Picture  what  is 
often  faid  to  be  prodigious  Like  r 
(This  is  often  done  by  the  lowed 
of  Face-Painters,  but  then  'tis  ever 
with  the  Air  of  a  Fool,  and  an  Un- 
bred Perfon  -y)  A  Portrait-Painter 
mud  underftand  Mankind,  and  en- 
ter into  their  Chara&ers,  and  ex- 
prefs  their  Minds  as  well  as  their 
Faces  :  And  as  his  Bufinefs  is  chief- 
ly with  People  of  Condition,  he 
muft  Think  as  a  Gentleman,  and  a 
Man  of  Senfe,  or  'twill  be  impofli- 
ble  to  give  Such  their  True,  and 
Proper  Refemblances. 

But  if  a  Painter  of  this  kind  is 
not  oblig'd  to  take  in  fuch  a  com- 
pafs  of  Knowledge  as  he  that  paints 
Hiftory,  and  that  the  Latter  upon 
Some  accounts  is  the  nobler  Em- 
ployment, upon  Others  the  Prefe- 
rence is  due  to  Face-Painting  $  and 
the  peculiar  Difficulties  fuch  a  one 

has 


(  *3  ) 

has  to  encounter  will  perhaps  ba- 
lance what  he  is  excufed  from.  He 
is  chiefly  concerned  with  the  No- 
bleft,  and  moft  Beautiful  part  of 
Humane  Nature,  the  Face  5  and  is 
obliged  to  the  utmoft  Exa&nefs.  A 
Hiftory-Painter  has  vaft  Liberties  $ 
if  he  is  to  give  Life,  and  Greatnefs, 
and  Grace  to  his  Figures,  and  the 
Airs  of  his  Heads,  he  may  chufe 
what  Faces,  and  Figures  he  pleafes  $ 
but  the  Other  muft  give  all  that  (in 
fome  degree  at  leaft)  to  Subjects 
where  'tis  not  always  to  be  found, 
and  muft  Find,  or  Make  Variety  in 
much  narrower  Bounds  than  the 
Hiftory-Painter  has  to  Range  in. 

Add  to  all  this,  that  the  Works 
of  the  Face-Painter  muft  be  feen  in 
all  the  Periods  of  Beginning,  and 
Progrefs,  as  well  as  when  Finifli'd, 
when  they  are  Not,  ofcner  than 
when  they  Are  fit  to  be  feen,  and 
yetjudgdof,  and  Criticis'd  upon, 
as  if  the  Arcift  had  given  his  laft 
C  4  Hand 


(  H  ) 

Hand  to  'em,  and  by  all  forts  of 
People  5  nor  is  he  always  at  liberty 
to  follow  his  Own  Judgment.  He 
is  moreover  frequently  difappoint- 
ed,  obliged  to  wait  till  the  Vigour 
of  his  Fancy  is  gone  off,  and  to 
give  over  when  'tis  ftrong,  and  live- 
ly. Thefe  things,  and  feveral  others 
which  I  forbear  to  mention,  often- 
times try  a  Man's  Philofophy,  and 
Complaifance,  and  add  to  the  Merit 
of  him  that  fucceeds  in  this  kind  of 
Painting. 

A  Painter  muft  not  only  be  a 
Poet,  an  Hiftorian,  a  Mathematician, 
Crc.  he  muft  be  a  Mechanick,  his 
Hand,  and  Eye,  muft  be  as  Expert 
as  his  Head  is  Clear, and  Lively,  and 
well  ftored  with  Science  ;  He  muft 
not  only  write  a  Hiftory,  a  Poem, 
a  Defcription,  but  in  a  fine  Chara- 
cter 5  his  Brain,  his  Eye,  his  Hand, 
muft  be  bufied  at  the  fame  time.  He 
muft  not  only  have  a  nice  Judgment 
to  d'ftinguifh  betwixt  things  nearly 

Refembling 


r  2$; 

Refembling  one  another,  but  not  the 
fame,  (which  he  mtift  have  in 
common  with  thofe  of  the  nobleft 
Profeflions  5)  but  he  muft  moreover 
have  the  fame  Delicacy  in  his  Eyes 
to  judge  of  the  Tindts  of  Colours 
which  are  of  infinite  Variety  $  and  to 
diftinguifh  whether  aLine  be  ftreight, 
or  curv'd  a  little  5  whether  This  is 
exactly  parallel  to  That,  or  oblique, 
and  in  what  degree  3  how  This  curv'd 
Line  differs  from  That,  if  it  differs 
at  all,  of  which  he  muft  alfo  judge  3 
whether  what  he  has  drawn  is  ot 
the  fame  Magnitude  with  what  he 
pretends  to  imitate,  and  the  like  3 
and  muft  have  a  Hand  exa<5t  enough 
to  form  thefe  in  his  Work,  anfwe- 
rable  to  the  Ideas  he  has  taken  of 
them. 

An  Author  muft  Think,  but  'tis 
no  matter  how  he  Writes,  he  has 
no  Care  about  that,  'tis  fufficient  if 
what  he  writes  be  Legible  :  A  curi- 
ous Mechanicks  Hand  muft  be  ex- 

quifite. 


(26) 

quifite,  but  his  Thoughts  are  com- 
monly pretty  much  at  liberty,  but 
a  Painter  is  engaged  in  Both  refpe£b. 
When  the  Matter  is  well  Thought 
and  Digefted  in  the  Mind,  (a  Work 
common  to  Painters  and  Writers) 
the  Former  has  ftill  behind  a  vaftly 
greater  Task  than  the  other,  and 
which  to  perform  Well,  would  alone 
be  a  fufficient  recommendation  to 
any  Man  who  fhould  employ  a 
whole  Life  in  attaining  it. 

And  here  1  muft  take  leave  to 
endeavour  to  do  Juftice  to  my  Pro- 
feflion  as  a  Liberal  Art. 

'Tvvas  never  thought  unworthy 
of  a  Gentleman  to  be  Mafter  of  the 
Theory  of  (painting.  On  the  contrary, 
if  fuch  a  one  has  but  a  luperficial 
Skill  that  way,  he  values  himfelf 
upon  it,  and  is  the  more  efteem'd 
by  others,  as  one  who  has  attaint 
an  Excellency  of  Mind  beyond  thofe 
that  are  Ignorant  in  that  particular. 
5Tis  ftrange  if  the  feme  Gentleman 

(hould 


( '27  ) 

fliould  forfeit  his  Chara&er,  and 
commence  Mechanick,  if  he  added  a 
Bodily  Excellence,  and  was  capable 
of  Making,  as  well  as  of  Judging, 
of  a  Picture.  How  comes  it  to  pafs, 
that  one  that  Thinks  as  well  as  any 
Man,  but  has  moreover  a  curious 
Hand,  fliould  therefore  be  efteem'd 
to  be  in  a  Clafs  of  Men  at  all  infe- 
rior ?  An  Animal  that  has  the  life  of 
Hands,  and  Speech,  and  ^eafon,  is  the 
Definition  of  a  Man  ;  The  Painter 
has  a  Language  in  common  with 
the  reft  of  his  Species,  and  one  fu- 
peradded  peculiar  to  himfelf,  and 
exercifes  his  Hands,  and  Rational 
Faculties  to  the  utmoft  Stretch  of 
of  Humane  Nature  3  certainly  he 
is  not  leis  Honourable  for  excelling 
in  All  the  Qualities  of  a  Man  as 
diftinguifli'd  from  a  Brute.  Thofe 
Employments  are  Servile,  and  Me- 
chanical, in  which  Bodily  Strength, 
or  Ability,  is  Only,  or  Chiefly  re- 
quired, and  that  becaufe  in  fuch 
*  cafes 


r  28  j 

cafes  the  Man  approaches  more  to 
the  Brute,  or  has  fewer  of  thofe 
Qualities  that  exalt  Mankind  above 
other  Animals  ;  but  this  Confide- 
ration  turns  to  the  Painter's  Advan- 
tage :  Here  is  indeed  a  fort  of 
Labour,  but  what  is  purely  Humane, 
and  for  the  Conduct  of  which  the 
greateft  Force  of  Mind  is  neceflary. 

To  be  employed  at  all  will  not 
be  thought  lefs  Honourable  than 
Indolence,  and  Inactivity  :  But  per- 
haps, tho'  for  a  Gentleman  to  paint 
for  his  Pleafure  without  any  Reward 
is  not  unworthy  of  him,  to  make  a 
Profefllon  of,  and  take  Money  for 
this  Labour  of  the  Head  and  Hand 
is  the  Dishonourable  Circumftance, 
This  being  a  fort  of  letting  himfelf 
to  Hire  to  whofoever  will  pay  him 
for  his  Trouble.  Very  well  !  And 
is  it  more  becoming  for  a  Man 
to  employ  himfelf  fo  as  that  he  fhall 
thereby  be  enabled  to  Enjoy  more 
Jiimfelf,    or  be  more  Ufeful  to  his 

Family* 


(29) 

Family,  or  to  whomfoever  elfe  he 
fees  fit,  than  fo  as  it  fhall  turn  to 
Lefs  account,  or  None  at  all  ?  And 
as  to  fetting  our  felves  to  Hire,  we 
Painters  are  content  to  own  this  is 
really    the  Cafe  5    and   if  this  has 
fomething  Low,  and  Servile  in  it, 
we  muft  take    our  place  amongfl 
Men  accordingly.  But  here  we  have 
this  to  comfort  us,  we   have  good 
Company,   that  is,    all  thofe   that 
receive  Money  for  the  Exercife  of 
their    Abilities    of  Body,  or  Mind, 
And  if  a  Man   looks  abroad  in  the 
World  he  may  obferve  a  great  ma- 
ny of  thefe  5  they  are  in  the  Courts 
of  Princes,    and  of  Judicature,    in 
Camps,  in  Churches,  in  Conven- 
ticles, in  the  Streets,  in  our  Houles$ 
they   abound  every  where  :  Some 
whereof  are  paid  for  each  particular 
piece  of  Service  they  do,  and  others 
have  yearly  Salaries,and  Perquiiites, 
or  Vails ;  but  this  alters  not  the  cafe. 

Nor 


(3°  ) 

Nor  is  it  difhonourable  for  any 
of  us  to  take  Money  :  He  that  fti- 
pulates  for  a  Reward  for  any  Service 
he  does  another,  a£ts  as  a  wife  Man, 
and  a  good  Member  of  the  Society  : 
He  gives  what  is  Pleafant,  or  Ufeful 
to  another,  but  confidering  the  De- 
pravity of  Humane  Nature,  trufts 
not  to  his  Gratitude,  but  fecures 
himfelf  a  Return  3  and  Money  being 
in  effect  every  thing  that  is  purchafe- 
able,  he  takes  That  as  chufing  for 
himfelf  what  Pleafure,  or  Conveni- 
ency  He  will  have  $  as  he  to  whom 
he  performs  the  Service  alfo  does 
when  he  employs  him. 

Thus  Painters  as  the  reft  bufy 
themfelves,  and  make  Advantage  to 
Themfelves,  as  well  as  to  Others, 
of  their  Employments  3  they  let 
themfelves  out  to  Hire  much  alike  5 
and  one  is  a  more  Honourable  way 
than  another  in  proportion  to  the 
Kind,  and  Degree  of  Abilities  they 
require,    and    their   Ufefulnefs    to 

Man- 


(V  ) 

Mankind.  What  Rank  a  Painter 
(as  fuch)  is  to  hold  amongft  thefe 
Money-Takers  I  fubmit  to  Judgment, 
after  what  I  have  faid  has  been  con- 
fider'd  $  and  I  hope  it  will  appear 
that  they  may  be  placed  amongft 
thofe  whom  all  the  World  allow  to 
be  Gentlemen,  or  of  Honourable 
Employments,  or  ProfelTions. 

And  in  fadt  by  the  politeft  Peo- 
ple, and  in  the  beft  Ages,  Paft,  as 
well  as  Prefent,  the  Art  has  been 
much  Efteem'd,  and  Painters  have 
liv'd  in  great  Reputation,  and  fome 
of  them  with  much  Magnificence  : 
Nor  have  thofe  of  the  SublimeftQua- 
lity  thought  them  unworthy  of  con- 
fiderable  Additional  Honours,  and 
amongft  the  reft  of  their  Conven- 
tion, and  Friendship  :  Of  which  I 
might  give  many  Inftances. 

Tis  true,  the  Word  Painter  docs 
not  generally  carry  with  it  an  Idea 
equal  to  what  we  have  of  other  Pro- 
feffions,  or  Employments  not  Su- 
perior 


.  (  30 

perior  to  it  5  the  Reafon  of  which  is, 
That  Term   is   appropriated  to  all 
forts  of  Pretenders  to  the  Art,  which 
being  Numerous,  and  for  the  moft 
part  very  Deficient,  (as  it  muft  needs 
happen,     fo   few    having   Abilities 
and  Opportunities  equal  to  fuch  an 
Undertaking)    Thefe    confequently 
have  fallen  into  Contempt  5  whether 
upon  account  of  fuch  Deficiency,  or 
the  Vices,  or  Follies  which  were  in 
part  the  Occafions,  or  EfFe&s  of  it  5 
and  this  being  vifible  in  a  great  Ma- 
jority,   it   has   diminifti'd   the  Idea 
which  ought  to  be   apply'd  to  the 
Term   I    am   fpeaking  of  3    which 
therefore  is  a  very  Ambiguous  one, 
and  Qiould  be  confiderd  as  fueh,  if 
it  be  extended  beyond  This,  that  it 
denotes  one  pra&ifing  fuch  an  Art, 
for  no  body  can  tell  what  he  ought 
to  conceive  farther  of  the  Man,  whe- 
ther to  rank  him  amongft  fome  of 
the  Meaneft,  or  equal  to  the   moft 


Confiderable  amongft  Men. 


To 


(33) 

To  conclude  :  To  be  an  Accom- 
plifh'd  Painter,  a  Man  muft  poflefs 
more  than  One  Liberal  Art,  which 
puts  him  upon  the  Level  with  thofe 
that  do  fo,  and  makes  him  Supe- 
rior to  thofe  that  poflefs  but  One  in 
an  Equal  Degree  :  He  muft  be  alfo 
a  Curious  Artificer,  whereby  he  be- 
comes Superior  to  one  who  equally 
poflefles  the  other  Talents,  but  wants 
That.     A  ^afaelle  therefore  is   not 
only  Equal,  but  Superior  to  a  Virgil  ^ 
or  a  Lity,  a  Tlmcydides,  or  a  Homer. 

What  I  now  advance  may  appear 
Chimerical  :  In  that  cafe  I  only  de- 
lire  it  may  be  confidered,  whether 
'tis  not  a  neceflary  Confequence  of 
what  went  before,  and  was-,  and  mud 
be  granted.  This  I  alfo  infift  upon 
as  my  Right,  if  any  thing  elfe  ap- 
pears to  be  exaggerated  :  for  my 
own  part  I  write  as  I  think. 

I  thought  fit  to  do  Juftice  to  the 

Art  of  Tainting  in  the  firfl:  place  5 

D  .  and 


(34) 

and  before  I  entred  upon  the  Rules 
to  be  obferved  in  the  Condudl  of  a 
Picture    to  tell  the     Painter   what 
Qualities  he  Himfelf  ought  to  have. 
To  which  I  will  add,  (but  not  as  the 
leaft  Confiderable)  That  as  his  Pro- 
feffion  is  Honourable,  he  fliould  ren- 
der himfelf  worthy  of  it  by  Excel- 
ling in  it,  and  by  avoiding  all  Low, 
and  Sordid  Actions,  and  Conventi- 
on, all  Bafe,  and  Criminal  Paflions : 
his  Bufinefs  is  to  exprefs  Great,  and 
Noble  Sentiments,  Let  him  make 
them  Familiar  to  him,  and  his  Own, 
and  form  Himfelf  into  as  bright  a 
Character  as  any  he  can  draw.    His 
Art  is  of  a  vaft  Extent,  and  he  ftands 
in  need  of  all  the  Time,  and  all  the 
Vigour  of  Body,  and  Mind  allow'd 
to  Humane  Nature  j  he  (hould  take 
care  to  Husband,  and  Improve  thefe 
as  much  as  polTible  by  Prudence,  and 
Virtue  :   The  way  to  be  an  Excel- 
lent Painter  is  to  be  an  Excellent 

Man, 


(35  3 

Man  ;  and  thefe  united  make  a  Cha- 
racter that  would  fliine  even  in  a 
better  World  than  this. 

But  as  a  Picture  may  be  efteem'd 
a  good,  and  a  valuable  one,  in  which 
all  the  good  Qualities  of  a  Pi&ure 
are  not  to  be  found,  (for  that  never 
happens )  and  thofe  that  Are,  but  in 
a  Degree  fhort  of  the  Utmoft  $  nay, 
if  a  Pi6ture  have  but  One  of  them  in 
a  confiderable  Degree  'tis  to  be  va- 
lued 3  Painters  have  a  Right  to  the 
fame  Indulgence,  and  have  had  it  in 
Paft  Ages,  as  well  as  in  the  Prefent^ 
for  whether  for  their  Own  fakes,  or 
from  Principles  of  Reafon,  Virtue, 
Good-nature,  or  whatever  other  Mo- 
tive the  World  is  not  wanting  to 
Cherifh,  and  Reward  Merit,  tho'  in 
a  Narrow  Compafs,  and  Inferior 
Degrees  :  We  have  no  reafon  to 
Complain. 

Only  give  me  leave  to  add,  that 

a  Painter  that  holds  but  the  Second 

D  x  or 


or  Third  Rank  in  his  Profeflion,  is 
entitled  to  an  equal  Degree  of  Efteem 
with  one  in  the  Firft  in  Another,  if 
to  arrive  at  that  Inferior  Station,  as 
many  good  Qualities  are  requifite 
as  to  attain  to  the  Higheft  in  that 
other. 


THE 


(  V  ) 


T 


HE  whole  Art  of  Painting 
confifts  of  thefe  Parts. 

Indention ,  ExpreJJion ,  Compojttion, 
Drawing,  Colouring ,  Handling,  and 
Grace,  and  Greatnefl. 

What  is  meant  by  thefe  Terms, 
and  that  they  are  Qualities  requifite 
to  the  Perfe&ion   of  the  Art,  and 
really  Diftin<5t  from  each  other,  fo 
that  no  one  of  'em  can  be  fairly  im- 
ply'd  by  any  other,  will  appear  when 
I  treat  of  them  in  their  Order  5  and 
this  will  juftify  my  giving  fo  many 
Parts  to  Painting,  which  (ome  others 
who  have  wrote  on  it  have  not  done. 
As  to  thofe  Properties  in  a  Picture 
fo  much   fpoken  of,    fuch   as  Force, 
Spirit,    the    understanding  of  Clair- 
objcure,  or  whatever  other  there  may 
be,  they  will  be  taken  notice  of  here- 
D  3  after 


r  38 ) 

after,    as  being  reducible    to  fome 
ofthefe  Principal  Heads. 

The  Arc  in  its  whole  Extent  be- 
ing too  great  to  be  compafs'd  by  any 
one  Man  in  any  tolerable  Degree  of 
Perfection,  fome  have  apply'd  them- 
felves  to  paint  One  thing,  and  fome 
Another  :  Thus  there  are  Painters  of 
Faces,  Hiftory,  Land/capes,  Battels, 
Drolls,  Still-Life,  Flowers,  and  Fruit, 
Ships,  &cc,  but  every  one  of  thefe 
feveral  Kinds  of  Pictures  ought  to 
have  all  the  feveral  Parts,  or  Qua- 
lities juft  now  mentioned  j  though 
even  to  arrive  at  that  in  any  one 
Kind  of  Painting,  is  beyond  the 
Reach  of  any  Man.  Even  in  Drolls 
there  is  a  Difference  $  there  is  a 
Grace  and  Greatnefs  proper  to  them, 
which  some  have  more  than  Others. 
The  Hi/lory-Tainter  is  obliged  often- 
times to  paint  All  thefe  kinds  of 
Subjects,  and  the  Face-Tainter  Moft  of 
'em  j  but  befides  that  they  in  fuch 
Cafes  are  allowed   the  Afliftance  of 

other 


other  Hands,  the  Inferior  Subjects 
are  in  Companion  of  their  Figures 
as  the  Figures  in  a  Landfcape,  there 
is  no  great  Exadtnefs  required,  or 
pretended  to. 

Italy  has  unqueftionably  produced 
the  beft  Modern  Painting,  efpecially 
of  the  beft  Kinds,  and  poflefs'd  it  in 
a  manner  alone,  when  no  other 
Nation  in  the  World  had  it  in  any 
tolerable  Degree  5  That  was  Then 
confequently  the  great  School  of 
Painting.  About  a  hundred  Years 
ago  there  were  a  great  many  Excel- 
lent Painters  in  Flanders  5  but  when 
Van*Vyck^  came  Hither,  he  brought 
Face-tpainthig  to  Us  $  ever  fince  which 
time  (that  is,  for  above  fourfcore 
Years )  England  has  excelled  all  the 
World  in  that  great  Branch  of  the 
Art,  And  being  well  ftor'd  with 
the  Works  of  the  greateft  Matters, 
whether  Paintings,  or  Drawings,  Here 
being  moreover  the  fineft  Living 
Models,  as  well  as  the  greateft  En- 
D  4        couragemen^ 


(  4°  ) 

couragement,  This  may  juftly  be 
efteem'd  as  a  Complete,  and  the  Belt 
School  for  Face-Painting  Now  in  the 
World  3  and  would  probably  have 
been  yet  Better,  had  Fan-Dycl^s  Mo- 
del been  followed  :  But  fome  Pain- 
ters polTibly  finding  themfelves  inca- 
pable of  fucceeding  in  His  Way,  and 
having  found  their  Account  in  intro- 
ducing a  Falfe  Tafte,  Others  have 
follow  d  their  Example,  andforfak- 
ing  the  Study  of  Nature,  have  pro- 
fticuted  a  Noble  Art,  chufing  to  ex- 
change the  honourable  Character  of 
good  Painters  for  that  fordid  one  of 
profefs'd,  mercenary  Flatterers  5  and 
To  much  worfe  than  the  meaneft  of 
Thofe,  in  that  They  give  under  their 
Hands,  and  to  be  feen  of  Every  body, 
what  Thofe  only  utter  in  Words,  and 
to  thofe  chiefly  who  they  find  weak 
enough  to  be  their  Dupes. 

As  for  the  other  Branches  of  Paint- 
ing, fome  few  of  feveral  Nations 
have  been  excellent  in  them  5  as  the 

fiorgognone 


( 4' ; 

Borgognone  for  Battels,  Michelangelo 
the  Battaglia,  and  Campadoglio  for  Fruit; 
Father  Segers,  Mario  del  Fwriyznd  Bap- 
tifl  for  Flowers  3  Salvator  (fiofa,  Claude 
Lorrain,  and  Gajper  (Pouffin  for  Land- 
fcapes  3  HZrower,  and  Hemskerk^  for 
Drolls  3  (perfellis,  and  Vande-Velde  for 
Sea-Pieces  3  and  feveral  others.  But 
I  am  not  difpofed  to  enlarge  on  this 
Article. 

O/Invention. 

BEING  determined  as  to  the 
Hiftory  that  is  to  be  painted, 
the  firft  thing  the  Painter  has  to  do, 
is  To  make  himfelf  Mafter  of  it  as  deli- 
vered by  Hiftorians,  or  otherwife  3  and 
then  to  confider  how  to  Improve  it,  keep- 
ing within  the  Bounds  of  Probability  t  Thus 
the  Ancient  Sculptors  imitated  Na- 
ture 3  and  thus  the  beft  Hiftorians 
have  related  their  Stories.  No  body 
can  imagine  (for  Example)  that  Lhy, 
or  Jhucydides,    had  Direct,   Exprefs 

Authorities 


(42  ) 

Authorities  for  all  the  Speeches  they 
have  given  us  at  length,  or  even  for 
all  the  Incidents  they  have  delivered 
to  us  as  Fadts  5  but  they  have  made 
their  Stories  as  Beautiful,  and  Con- 
fiderable  as  they  could  5  and  this 
with  very  good  Reafon,  for  not  only 
it  makes  the  Reading  of  'em  the 
more  Pleafant,  but  their  Relations 
with  fuch  Additions  are  fometimes 
more  probably  the  Truth,  than  when 
nothing  more  is  fuppofed  to  have 
happened  than  what  they  might  have 
had  exprefs  Warrant  for.  Such  an 
Improvement  ^afa'Hle  has  made  in 
the  Story  of  our  Saviour's  directing 
S.  (peter  to  Feed  his  Flock,  commonly 
calPd  the  Giving  him  the  Keys.  Our 
Lord  feems,  by  the  Relation  of  the 
Evangelift,  (at  leaft  z^oman  Catholic^ 
as  (ftafaelle  was,  muft  be  fuppofed  to 
underftand  it  fo)  to  commit  the  Care 
of  his  Church  to  that  Apoftle  prefe- 
rably to  the  reft,  upon  the  Suppo- 
iition  of  his  Loving  him  better  than 

any 


C+3J 

any  of  them:  Now  though  the  Hi- 
ftory  is  filent,  'tis  exceeding  proba. 
ble  rhatS.jfofoi,  as  he  was  the  beloved 
Difciple,  would  have  expected  this 
Honour,  and  be  piqued  at  his  being 
thought  to  love  his  Matter  lefs  than 
S.  Peter  :    (ftafaelle  therefore  in  that 
Carton  makes  him  addrefs  himfelf  to 
our  Lord  with  extream  Ardour,  as 
if  he  was  intreating  him  to  believe 
he  loved  him  no  lefs  than  S.  Peter, 
or  any  of  the  other  Apoftles.     And 
this  puts  one  upon  imagining  fome 
Fine  Speeches  that  it  may  befuppofed, 
were  made  on  this  Occafion,  whereby 
(%afael!e  has  given  a  Hint  for  every 
Man  to  make  a  farther  Improvement 
to  himfelf  of  this  Story. 

The  fame  Liberty  of  heightn'mg  a 
Story  is  very  commonly  taken  in 
Pictures  of  the  Crucifixion  j  theBlef- 
fed  Virgin  is  reprefented  as  Swoon- 
ing away  at  the  Sight,  and  S.  John, 
and  the  Women  with  great  propriety 
dividing  their  Concern  between  the 

two 


f44J 

two  Obje&s  of  it,  which  makes  a 
fine  Scene,  and  a  confiderable  Im- 
provement 5  and  probably  was  the 
Truth,  though  the  Hiftory  fays  no 
fuch  thing. 

In  like  manner,  when  the  Sacred 
Body  was  taken  from  the  Crofs,  the 
Virgin-Mother  is  frequently  intro- 
duced as  Swooning  away  alfo,  when 
even  her  being  Prefent  is  not  autho- 
rized by  the  Sacred  Hiftory  $  yet  it 
being  very  probable  that  fhe  that 
could  fee  her  Son  Crucified  (which 
the  Scripture  fays  fhe  did)  would  fee 
him  alio  after  he  was  dead,  'tis  a 
Liberty  the  Painter  not  only  May, 
but  Ought  to  take. 

An  Improvement  much  of  the 
fame  Nature  is  the  Angels  that  are 
frequently  introduced  in  a  Nativity, 
or  on  other  Occafions,  the  noble, 
though  not  rich  Habit  of  the  Virgin, 
and  the  like,  though  perhaps  not  al- 
together in  the  lame  Degree  of  Pro- 
bability. 

But 


(45) 

But  that  Circumftance  of  the  Blef- 
fed  Virgin-Mother  being  a  Spectator 
of  the  Crucifixion  of  her  Son  ought 
not  to  have  been  introduced,  not- 
withftanding  any  Advantage  it  might 
give  the  Picture, without  exprefs War- 
rant from  the  Hiftory,  for  Reafons 
that  are  obvious  3  and  the  like  Re- 
ftridlions  are  neceflfary  in  other  fuch 
Cafes. 

One  Inftance  more  of  an  Improve- 
ment upon  the  Subject  well  deferves 
to  be  added.  I  have  feen  a  Pidture 
of  Jlbani,  a  Madonna,  the  Child  is 
afleep  3  the  Subject  is  a  Common, 
a  Plain  one.  To  heighten  it  the  Pain- 
ter has  reprefented  Chrift  Dreaming 
of  his  Future  Paflion  5  As  how  ? 
By  placing  juft  by  his  Head  a 
fort  of  Glafs  Vafe,  wherein  is  feen 
faintly,  and  as  it  were  by  Reflection, 
the  Crofs,  and  other  Inftruments  of 
his  Suffering.  This  is  a  Beautiful 
Thought, Uncommon,  and  Delicate, 
and  fpreads  the  Imagination    much 

farther 


(  4«5  ) 

farther  than  it  would  otherwife  na* 
turally  have  gone. 

As  the  Painter  may  Add  to  the 
Story  for  the  Advantage  of  it,  he 
may,  to  improve  his  Picture,  leave 
out  fome  Things.  I  have  a  Draw* 
ing  of  <%afaelle>  wherein  he  has  taken 
the  Liberties  of  both  thefe  Kinds  $ 
the  Story  is  the  Defcent  of  the  Holy 
Ghoft  on  the  Day  of  (pentecoft  3  (a 
moft  amazing  Event  1  and  worthy 
to  be  defcribed  by  the  firft  Painter 
of  the  World  5)  the  Tongues  of  Fire 
on  the  Heads  of  the  Infpir'd,  would 
have  beenfufficientto  have  inform'd 
us  of  the  Story,  and  what  Part  the 
Holy  Spirit  had  in  the  Affair,  and  is 
all  the  Sacred  Hiftory  relates  5  but 
he  has  added  the  Dove  hovering  over 
all,  and  calling  forth  his  Beams  of 
Glory  throughout  all  the  void  Space 
of  the  Pidure  over  the  Figures,  which 
gives  a  wonderful  Majefty,  and  Beau- 
ty to  the  whole.  This  is  his  Addi- 
tion.    On  the  other  hand,  becaufe 

there 


(47) 

there  were  (as  the  Scripture  fays)  a- 
bout  120  Perfons,  the  whole  num- 
ber of  the  Infant  Church,  and  which 
would  not  have  had  a  good  effed:  to 
have  been  All,  or  a  Crowd  like  That 
brought  into  the  Pidure,  he  has  only 
taken  the  Twelve,  and  the  Bleffed 
Virgin,  with  two  other  Women,  as 
Reprefentative  of  all  the  reft.  This 
Defign  is  grav'd  by  Marc  Antonio,  but 
is  very  rare. 

Under  the  prefent  Rule  is  compre- 
hended all  thofe  Incidents  which  the 
Painter  invents  to  inrich  his  Compo- 
fition  5  and  here  in  many  Cafes  he 
has  a  vaft  Latitude,  as  in  a  Battel, 
a  Plague,  a  Fire,  the  Slaughter  of 
the  Innocents,  e>c.  ^afaeOe  has  finely 
imagined  fome  of  thefe  (for  example) 
in  his  Picture  call'd  the  Incendio  di 
(Sorgo.  The  Story  is  of  a  Fire  at 
(Rome  miraculoufly  extinguifh'd  by 
S.  Leo  IV.  Becaufe  a  Fire  is  feldom 
very  great  but  when  there  happens 
to  be  a  high  Wind,  he  has  painted 

fuch 


(48  ) 

fuch  a  one,  as  is  feen  by  the  flying 
of  the  Hair,  Draperies,  isrc.  There 
you  fee  a  great  many  Inftances  ofDi- 
ftrefs,  and  Paternal,  and  Filial  Love. 
I  will  mention  but  one,  where  the 
Story  of  JEneas  and  Anchifes  was 
thought  of  3  They  were  already  out 
of  the  great  Danger,  and  the  Son 
carries  the  old  Man  not  only  as 
commodioufly  as  poflible,  but  with 
the  utmoffc  Care  left  he  fliould  ftum- 
ble  or  fall  with  his  precious  Burthen. 
I  refer  you  to  the  Print,  for  there  h 
one  of  this  Picture. 

The  fame  (fiafaelle,  in  the  Story  of 
the  Delivery  of  S.  Peter  out  of  Pri- 
fon,  (  which  by  the  way  is  finely 
chofen  to  compliment  his  Patron 
Leo  X.  the  then  Pope,  for  it  alludes 
to  his  Imprifonment,  and  Enlarge- 
ment when  he  was  a  Cardinal  Le- 
gate )  has  contrived  three  feveral 
Lights,  one  from  the  Angel,  a  fe- 
cond  from  a  Torch,  and  the  other 
the  Moon  gives  5  which  being  at- 
tended 


tended  with  properReflexions,and  all 
perfectly  well  underftood,  produces 
a  furprizing  efFed  $  efpecially  where 
'tis  painted,  which  is  over  a  Window. 
There  are  other  Circumftances  finely 
Invented  in  this  Picture,  for  which 
I  refer  you  to  (Bellons  Defcription  of 
it.  One  might  give  innumerable 
Inftances  to  this  purpofe,  but  let 
thefe  fuffice. 

A  fainter  is  allotted  fometimes  to  de~ 
part  even  from  Natural,  and  Hiftorkal 
Truth. 

Thus  in  the  Carton  of  the  Draught 
of  Fifties  (fiafaelle  has  made  a  Boat 
too  little  to  hold  the  Figures  he  has 
plac'd  in  it  5  and  this  is  fo  vifible, 
that  Some  are  apt  to  Triumph  over 
that  great  Man,  as  having  nodded  on 
that  Qccafion  3  which  Others  have 
pretended  to  Excufe,  by  faying  it 
was  done  to  make  the  Miracle  ap- 
pear the  greater  5  but  the  Truth  is, 
had  he  made  the  Boat  large  enough 
for  thofe  Figures  his  Picture  would 
E  have 


(  5°) 

have  been  all  Boat,  which  would  have 
had  a  Difagreeable  Effed  5  and  to 
have  made  his  Figures  Small  enough 
for  a  Veflfel  of  that  Size,  would  have 
rendered  them  unfuitable  to  the  reft 
of  the  Set,  and  have  made  thofe  Fi- 
gures appear  lefs  considerable  $  there 
would   have  been  too  much  Boat, 
and  too  little  Figure.      Tis  amifs  as 
it  is,  but  would  have  been  worfe  any- 
other  way,  as  it  frequently  happens 
in  other  cafes,  (ftafaelle  therefore  wife- 
ly chofe  this  Lefler  inconvenience, 
this  feeming  Error,  which  he  knew 
the  Judicious  would  know  was  None  3 
and  for  the  reft  he  was  above  being 
follicitous  for  his   Reputation  with 
Them.     So  that  upon  the  whole  this 
is  fo  far  from  being  a  Fault,  that  'tis 
an  Inftance  of  the  great  Judgment  of 
that  incomparable  Man,  which  he 
learn  d   in  his  great  School  the  An- 
tique where  this  Liberty  is  common- 
ly taken. 

He 


(  5'  ) 

He  has  departed  from  Hiftorkal 
Truth  in  the  Pillars  that  are  at  the 
Beautiful  Gate  of  the  Temple  $  the 
Imagery  is  by  no  means  agreeable  to 
the  Superftition  of  the  Jews  at  that 
time,  and  all  along  after  the  Capti- 
vity. Nor  were  thole  kinds  of  Pil- 
lars known  even  in  Antique  Archi- 
tecture in  any  Nation  5  but  they  are 
fo  nobly  Invented  by  Q^afaelle,  and 
fo  prodigioufly  Magnificent,  that  it 
would  have  been  a  pity  if  he  had  not 
indulged  himfelf  in  this  piece  of  Li- 
centioufnefs,  which  undoubtedly  he 
knew  to  be  Such. 

But  thefe  Liberties  muft  be  taken 
with  great  Caution  and  Judgment 5 
for  in  the  Main,  Hiftorical,  and  Na- 
tural Truth  muft  be  ob/erVed,  the  Story 
may  be  embelliftid,  or  fomething  of 
it  par'd  away,  but  ftill  So  as  it  may 
be  immediately  known  ;  nor  muft 
any  thing  be  contrary  to  Nature  but 
upon  great  Neccflity,  and  apparent 
Reafon.  Hiftory  muft  not  be  cor- 
E  2  rupted, 


(  5«) 

rupted,  and  turn'd  into  Fable  or  Ro- 
mance :  Every  Perfon,  and  Thing 
muft  be  made  to  fuftain  its  proper 
Character  3  and  not  only  the  Story, 
but  the  Circumftances  muft  be  ob- 
fervM,  the  Scene  of  Action,  the 
Countrey,  or  Place,  the  Habits,  Arms, 
Manners,  Proportions,  and  the  like, 
muft  correfpond.  This  is  calPd  the 
obferving  the  Cojlume.  The  Story  of 
the  Woman  taken  in  Adultery  muft 
not  be  reprefented  in  the  open  Air, 
but  in  the  Temple.  If  that  of  Jkx- 
ander  coming  to  Diogenes,  and  the 
Cynick.  defiring  him  not  to  deprive 
him  of  what  he  could  not  give,  the 
Light  of  the  Sun  ;  I  fay,  if  this  be 
painted,  the  Light  muft  not  be  made 
co  come  the  contrary  way,  and  Dio- 
genes in  the  Sun-Beams.  Nor  muft 
our  Saviour  be  made  to  help  put 
himfelf  into  his  Sepulchre  as  I  have 
feen  it  reprefented  in  a  Drawing,  o- 
therwife  a  good  one.  Thefe  things 
are  too  obvious  to  need  being  en- 
larged on.  Every 


( 53.; 

Every  Hiftorical  Ttfiure  is  a  <%epre- 
fentation  of  one  fingle  point  of  Time  5 
Tins  then  mufl  be  chofen  5   and  That  in  the 
Story  which  is  the  mofl  Advantageous  mufl 
be  It.     Suppofe,    for   Inftance,   the 
Story   to  be  painted  is  that  of  the 
Woman  taken  in  Adultery,  the  Pain- 
ter Seems  to  be  at  liberty  to  choofe 
whether  he  will  reprefent  the  Scribes 
and  Pharifees  accufing   her  to  our 
Lord  5  Or  our  Lord  writing  on  the 
Ground  $    Or  pronouncing  the  laft 
of  the   Words,    Let  him  that  is  among 
you  without  Sin  caft  the  fir  ft  Stone  at  her  5 
Or  laftly  his  Abfolution,  Go  thy  way, 
Sin  no  more.     The  Firft  mufl  be  re- 
jected, becaufe  in  That  moment  the 
chief  Actors    in   the  Story  are  the 
Scribes,  and  Pharifees  $  'tis  true,  Chrift 
may  appear  there  with  the  Dignity 
of  a  Judge,  but  that  he  does  after- 
wards, and  with  greater  Advantage. 
In  the  Second  our  Lord  is  in  Action  $ 
butftoopingdown,and  writing  on  the 
Ground  makes  not  fo  graceful,  and 
E  3  noble 


( 5+ ; 

noble  an  Appearance  as  even  the 
Former  would  have  done  3  nor  have 
we  here  the  Beft  Choice  of  the  Acti- 
ons of  the  Accufers  3  the  firft,  and 
mod  Vigorous  Moments  of  the  Ac- 
cufation  being  already  paft.  When 
our  Saviour  lays  the  Words,  Let  him 
that  is  without  Sin  cajl  the  firjl  Stone, 
He  is  the  principal  Actor,  and  with 
Dignity  3  the  Accufers  are  aflham'd, 
Vex'd,  Confounded,  and  perhaps 
Clamorous  3  and  the  Accufed  in 
a  fine  SicuacionjHope,  and  Joy  fpring- 
nig  up  after  Shame,  and  Fear  5  all 
which  affords  the  Painter  an  oppor- 
tunity of  exerting  himfelf,  and  giving 
a  pleafing  Variety  to  the  Compofi- 
tion  3  For  befides  the  various  Paf- 
fions,  and  Sentiments  naturally  ari- 
fing,  the  Accufers  begin  to  difperfe, 
which  will  occafion  a  vine  Contrajl  in 
the  Attitudes  of  the  Figures,  lome 
being  in  Profile,  fome  Fore-right, 
and  lome  with  their  Backs  turn  d  ^ 
fome  preffing  forward  as  if  they  were 

attentive 


(55). 

attentive  to  what  was  faid,  and  fome 
going  off :  And  this  I  fhould  chufe  $ 
for'as  to  the  Laft,Tho'  there  our  Lord 
pronounces  the  decifive  Sentence, 
and  which  is  the  principal  Adion, 
and  of  themoft  Dignity  in  the  whole 
Story,  yet  Now  there  was  no  body 
left  but  himfelf,  and  the  Woman  j 
the  reft  were  all  drop'd  off  one  by 
one,  and  the  Scene  would  be  disfur- 
niflied. 

The  (PiElure  being  to  reprefent  but  One 
lnjlant  of  Time,  no  Action  mitft  be  chofen 
which  cannot  be  fuppos W  to  be  doing  in 
that  Inftant.  Thus  the  Scribes  and 
Pharifees,  in  the  Story  juft  now  men- 
tion^, muft  not  be  Accufing  when 
our  Lord  was  Speaking  5  that  was 
then  over,  and  they  muft  appear  in 
That  Situation  as  they  might  be 
Then  imagined  to  be  in. 

Thefe  two  laft  mentioned  Rules 

are  finely  obferv'd  by  (Rafaelk  in  his 

Carton  of  Giving  the  Keys,  and  the 

Death  of  Ananias,  to  name  no  more. 

E  4  I„ 


.  <  5*  ) 

In  the  Firft,  the  Moment  is  chofen 
of  our  Lord's  having  juft  fpoken, 
and  S.  Johns  addreflfmg  himfelf  to 
fpeak  3  and  in  the  Other  the  Inftant 
of  Jnanias's  Fall,  and  before  all  the 
People  were  apprifed  of  it  5  in  Both 
which,  as  they  are  the  moft  Advan- 
tageous that  could  poflibly  have  been 
imagin'd,  nothing  is  doing  but  what 
might  be  fuppos'd  tp  be  doing  at 
That  inftant. 

It  has  been  attempted  to  bring  a 
whole  Series  of  Hiftory  into  one  Pi- 
cture, as  that  of  the  Prodigal  Son's 
Going  out,  his  Voluptuous  wray  of 
Living,  his  Diftrefs  and  Return, 
which  I  have  feen  thus  managed  by 
Titian  5  but  this  is  juft  fuch  a  fault 
as  crowding  a  whole  Year  into  one 
Play,  which  will  always  be  con- 
demn'd,  though  done  by  Shakefyear 
himfelf. 

There  muft  be  one  (principal  Action  in 
a  tpifture.  Whatever  Under-A&ions 
may  be  going  on  in  the  fame  inftant 

with 


r  57 ; 

with  That,  and  which  it  may  be  pro- 
per toinfert,  to  Illuftrate,or  Amplify 
the  Compofition,  they  muffc  not  di- 
vide the  Pi&ure,  and  the  Attention 
of  the  Spectator.  O  Divine  <%afaelley 
forgive  me  if  I  take  the  Liberty  to 
fay  I  cannot  approve  in  this  particu- 
lar of  that  Amazing  Picture  of  the 
Transfiguration^  where  the  Incidental 
Action  of  the  Man's  bringing  his  Son 
poffefs'd  with  the  Dumb  Devil  to 
the  Difciples,  and  their  not  being 
able  to  caft  him  out  is  made  at  leaft 
as  confpicuous,  and  as  much  a  Prin- 
cipal Adlion  as  that  of  the  Transfigu- 
ration. The  Unity  of  Time  is  indeed 
preferv'd,and  this  Under-Story  wou'd 
have  made  a  fine  Epifode  to  the  O- 
ther  (tho'  the  Other  would  not  pro- 
perly to  This,  as  being  of  more  Dig- 
nity than  the  Principal  Story  in  This 
cafe)  but  Both  together  mutually 
hurt  one  another. 

(Rafaelle  has  manag'd  an  Epifode 
differently  on  other  Occafions.     In 

the 


(58  ) 

the  Carton  of  the  Death  of  Jna~ 
mas  the  Principal  Action  is  that 
furprifing  Event,  and  accordingly 
that  is  what  immediately  takes  the 
Eye,  and  declares  it  felf  to  be  the 
Subject  of  the  Pi&ure  $  but  there 
are  alfo  fome  People  offering  Mo- 
ney, and  others  receiving  it,  which 
are  fo  intent  upon  what  they  are  a- 
bout  as  not  to  feem  (at  that  inftant) 
to  know  any  thing  of  the  matter, 
tho5  of  that  Edit.  Which  Epifode  is 
very  Juft,  and  agreeable  to  the  Hi- 
ftory,  but  by  no  means  comes  in 
Competition  with  the  principal  A- 
£tion.  In  a  Holy  Family  of  the 
fame  (ftafaelle  (an  admirable  Copy  of 
which  1  have,  done  by  Torino  del  Faga, 
as  is  judg'd,  if 'tis  not  an  Original, 
at  leaft  partly  fo)  the  Chrift,  and 
Virgin  are  mod  confpicuoufly  di- 
ftinguifli'd,  and  appear  with  infinite 
Beauty,  Grace  and  Dignity  3  but  be- 
caufe  S.  Elizabeth,  and  S.Jofeph  fhould 
not  be  Idle,  or  not  employed  Wor- 
thily 


thily    (which  is  frequently  the  cafe 
in  fuch  Pictures)  he  has  a  Book  be- 
fore him  as  having  been  reading,  and 
(he  is  fpeaking   to  him   as  aflifting 
his  Underftanding,  and  he  attending 
to  her  Expofition,    which  he  feems 
to  ftand  in  need  of.     This  Difcourfe 
is  carried  on   behind    the  principal 
Figures,  and  is  an  Action  the  moft 
worthy,  and  proper  that  could  pof- 
fibly  be  imagined  for  thefe  perfons, 
but  apparently  inferior  to  that  of  the 
principal  Figures  5  the  Virgin  being 
employ 'd   in  Careffing,  Suftaining, 
and  taking  Care  of  the  Divine  Child  5 
and  he,  with  as  great  Dignity  as  an 
Infant  God  incarnate  can  be  fuppos'd 
to  do,  Careffing,  and  Rejoycing  with 
his  Holy  Mother.     Here  are  two  di~ 
ftinft  Anions,  but  no  manner    of 
Diftra&iqn,  Ambiguity,  or  Compe- 
tition. 

Nor  mujl  the  Attention  be  diverted 
from  what  ought  to  he  Principal,  by  any 
thing   how  Excellent  Joeyer   in  it  /elf. 

<Pro- 


(6o) 

fprotogenes  in  the  famous  Pi&ure  of 
Jaliffus  had  painted  a  Partridge  fo 
exquifitely  well,  that  it  feem'd  a 
Living  Creature,  it  was  admir'd  by- 
all  Greece  $  but  That  being  moft 
taken  notice  of,  he  defaced  it  entire- 
ly. That  illuftrious  Action  of  Mu- 
tius  ScMolas  putting  his  Hand  in  the 
Fire,  after  he  had  by  Miftake  kill'd 
another  inftead  of  (porfenna^  is  fuffi- 
cient  alone  to  employ  the  Mind  j 
<polydore  therefore  in  a  Capital  Draw- 
ing 1  have  of  him  of  that  Story,  (and 
which  by  the  way  was  one  of  his 
moft  celebrated  Works)  has  left  out 
the  dead  Man  $  it  was  fufficiently 
known  that  one  was  kill'd,  but  that 
Figure,  had  it  been  inferted,  would 
neceflarily  have  diverted  the  Atten- 
tion, and  deftroy'd  that  noble  Sim- 
plicity, and  Unity  which  now  ap- 
pears. 

Every  Action  mufi  be  reprefented  as 
done,  not  only  as  'tis  pojjible  it  might  be 
perform  d}  but  in  the  Beft  manner.     la 

the 


(6i  ) 

the   Print  after  (fiafaelle,  grav'd  by 
Marc  Antonio,  you  fee  Hercules  gripe 
^tewf  with  all  the   Advantage   one 
can  wiflito  have  over  an  Adverfary  : 
So  in  the  Pidture  defign'd  by  MicheU 
angeloy  and  painted  by  Anmbale  Car- 
racciy  the   Eagle  holds   Ganymede  to 
carry   him  up   commodioufly,  and 
withal  to  make  a  beautiful  Appear- 
ance together  3  the  Print  of  which  is 
amongit  thofe  of  the  Pictures  of  Duke 
Leopold.     Daniele  da  Volterra  has  not 
fucceeded  fo  well  in  his  famous  Pi- 
cture of  the  Defcent  from  the  Crofs, 
where   one   of  the  Afliftants,   who 
(lands   upon  a  Ladder  drawing  out 
a  Nail,  is  fo  difpofed  as  is  not  very 
Natural,    and  Convenient   for   the 
purpofe. 

Nor  is  (^afaelle  himfelf  fo  juft  in 
his  Management  of  the  fame  Story 
as  he  ufually  is  3  S.  John  is  upon  a 
Ladder  to  affift,  and  is  receiving  the 
Body  with  great  Affection,  andTen- 
dernefs,  but  'tis  evident  the  whole 

Weight 


(62    ) 

Weight  of  it  will  fall  upon  him, 
which  is  too  much  for  any  one  Man 
to  manage,  efpecially  (landing  upon 
a  Ladder  :  Nor  is  there  any  below 
to  receive  the  Sacred  Load,  or  to  af- 
fift  him  5  fo  that  fuppofing  every 
Figure  in  the  pofition  as  (Rafaelle  has 
reprefented  them,  the  dead  Body  of 
our  Lord  mull  fall  upon  the  heads 
of  the  Blefled  Virgin,  and  the  Wo- 
men that  are  with  her.  The  Picture 
is  That  graved  by  Marc  Antonio. 

TSlo  Jupcrnumcrary  Figures,  or  Orm- 
ments  ought  to  be  brought  into  a  ViElure. 
A  Painter's  Language  is  his  Pencil, 
he  fliould  neither  fay  too  Little,  nor 
too  Much,  but  go  diredly  to  his 
Point,  and  tell  his  Story  with  all 
poflible  Simplicity.  As  in  a  Play 
there  muft  not  be  too  many  Actors, 
in  a  Picture  there  muft  not  be  too 
many  Figures.  Jnnibale  Carracci  wou'd 
not  allow  above  Twelve  $  there  are 
Exceptions  to  this  Rule,  but  certain- 
ly all  the  Management  in  the  World 

can- 


(*3) 

cannot  put  together  a  great  number 
of  Figures,  and  Ornaments,  with  that 
Advantage  as  a  few. 

Where  the  Story  requires  that 
there  be  a  Crowd  of  People,  there 
may  be  fome  Figures  without  any 
Particular  Character,  which  are  not 
Supernumerary,  becaufe  the  Story 
requires  a  Crowd.  In  the  Cartons 
there  are  very  few  Idle  Figures :  Nor 
are  all  thofe  fuch  that  may  feem  to 
be  fo  3  there  are  two  in  the  Carton 
of  S.  *P<ihI  Preaching  that  are  walk- 
ing at  a  diftanceamongft  the  Build- 
ings, but  thefe  ferve  well  to  intimate 
that  there  were  fome  who  like  Gallio 
cared  for  none  of  thefe  things. 

So  far  fhould  the  Painter  be  from 
inferting  any  thing  Superfluous,  that 
he  ought  to  leave  fomething  to  the  Imagi- 
nation. He  muft  not  fay  All  he  can 
on  hisSubjed,  and  fo  feem  to  diftruft 
his  Reader,  and  difcover  he  thought 
no  farther  Himfelf. 

Nothing 


^c 


Nothing  Jbfurd,  Indecent y  or  Mean  ; 
nothing  contrary  to  (Religion,  or  Morali- 
ty, mnfl  be  Put  mt0  a  Picture,  or  even 
intimated  or  hinted  at.  A  Dog  with  a 
Bone,  at  a  Banquet,  where  People 
of  the  higheft  Characters  are  at  Ta- 
ble 3  a  Boy  making  Water  in  the  beft 
Company,  or  the  like,  are  Faults 
which  the  Authority  of  Paulo  Vero- 
nefcj  or  a  much  greater  Man,  cannot 
juftify. 

(fiafaelk,  in  the  Pi&ure  of  the  Do- 
nation  of  Conjlantine  in  the  Vatican  has 
put  a  naked  Boy  aftride  upon  a  Dog 
in  a  void  fpace  in  the  Fore-Ground  : 
What  Reafon  he  had  for  it  I  cannot 
comprehend  $  it  feems  to  be  brought 
in  only  to  fill  up  that  Space,  which 
it  had  been  better  (at  leaft  I  think 
fo)  to  have  left  empty  :  But  certain- 
ly in  fuch  Company,  and  on  fo  fo- 
lemn  an  Occafion  as  the  Emperor 
making  a  Prefent  of  Rome  to  the 
Pope,  fuch  a  light  Incident  fliould 

not 


(«5) 

not  have  been  inferted,  much  lefs 
made  fo  confpicuous.  I  confefs  I 
have  not  feen  the  Pi&ure,  but  a 
Drawing  of  it  by  Battijia  Franco,  and 
two  other  old  ones  I  have,  and  all 
agree  in  this  Circumftance,  tho  Se/- 
lori  in  his  Defcription  of  this  Picture 
takes  no  notice  of  it,  as  neither  has 
he  of  feveral  other  particulars. 

There  is  fomething  lower  yet, 
than  this,  in  the  Carton  of  Giving 
the  Keys,  which  I  have  often  won- 
dred  Qtyfaelle  could  fall  into,  or  fuf- 
fer  in  his  Picture  5  and  that  is,  in  the 
Landfcape  there  is  a  Houfe  on  fire  5 
and,  in  another  place,  Linen  drying 
on  the  Hedges. 

tPolydore,  in  a  Drawing  I  have  feen 
of  him,  has  made  an  ill  Choice 
with  refpeft  to  Decorum  3  he  has 
(hewn  Cato  with  his  Bowels  gufhing 
out,  which  is  not  only  Offensive  in 
itfelf,  but  'tis  a  Situation  in  which 
Cato  fhould  not  be  feen,  'tis  Inde- 
cent 5  fuch  things  fhould  be  left  to 
F  Ima- 


(66) 

Imagination,  and  not  difplay  d  on 
the  Stage.  But  Michelangelo  in  his  laft 
Judgment  has  finn'd  againft:  this 
Rule  moft  egregioufly. 

Tbeje  ti^eflrittions  being  obferVdj  there 
mujl  he  as  much  Variety  in  the  TiBure  as 
the  Subject  will  admit  of.    In  Some, 'tis 
abfolutely    neceflary  3  as  in   a  Ser- 
mon, or  other  Addrefs,   to  a  Multi- 
tude,    a   Saint    diftributing    Alms, 
Healing,  &c.  the  Paflions,  the  Atti- 
tudes, the  Conditions,  and  other  Cir- 
cumftances  of  the  People  fliould  be 
vary'd  as  much  as  is  poflible  5   but 
Naturally,  and  without  Affectation. 
Rembrandt   has  fucceeded  admirably 
in  This,  as  in  feveral   of  the  Other 
parts  of  Painting  in   many    of  his 
Works  3  particularly  in  that  of  our 
Lord  Healing  the  Sick.     The  Work 
is    not  crowded,    but  there  is  feen 
People  of  Both  Sexes,  and    of  all 
Ages,  and   Conditions;   Rich,  and 
Poor,  Fat,  and  Lean,  in  all  the  Vari- 
ety of  Circumftances  proper  to  the 

Sub- 


(<*7) 

Subjedb  And  here  are  not  only 
Thofe  that  come  for  Cure,  fome  are 
Obferving  what  pafles,  and,  of 
Thefe,  there  are  Friends,  Enemies, 
Enquirers,  Scorners,  and  Difputers. 
But  this  Great  Genius  has  not  con- 
tented himfelf  with  all  this  5  among 
thofe  that  come  to  be  HeaPd,  there 
is  an  ^Ethiopian  of  Qpality,  that  is 
difeas'd  in  his  Eyes,  as  appears  by  a 
Bandage  over  them,  and,  in  a  great 
meafure  even  by  the  Attitude  of 
his  Head,  and  the  Set  of  his  Mouth  5 
he  is  attended  by  Servants,  and 
Beafts  for  Voiture^  which  add  much 
to  the  Variety  I  am  remarking  upon  $ 
and  all  this  moreover  raifes  the 
Subjed,  by  fhewing  how  far  the 
Fame  of  Jefus,  and  the  Wonders  he 
did  was  lpread  $  and  what  Cre- 
dit, was  given  to  thofe  Relations  in 
Countries  far  diftant.  I  might  have 
given  Examples  to  my  Purpofe 
from  the  Works  of  feveral  other 
Matters,     but    I    made    choice   of 

F  z  This, 


(  6%  ) 

This,  not  only  as  being  at  leaft  E- 
cjually  remarkable  with  the  Beft  I 
could  have  found,  but  to  do  Juftice 
to  One,  who  tho'  he  has  Excelled 
rrioft  Others  in  fome  of  the  parts 
of  the  Art  not  the  leaft  Confiderable, 
yet  having  wanted  (Generally,  not 
Always)  Grace  and  Greatnefs,  and 
adhering  to  Common  Nature,  Com- 
mon to  Him,  who  conversed  not 
with  the  Beft,  his  furprifing  Beau- 
ties are  Overlook  d  in  a  great  mea- 
fure,  and  Loft  with  Moil,  even 
Lovers  ot  Painting,  and  Comioijfatrs. 
Methinks  it  would  not  be  amifs, 
if  a  Painter,  before  he  made  the 
leaft  Drawing  ot  his  intended  Pic- 
ture, would  take  the  pains  to  Write 
the  Story j  and  give  it  all  the  Beauty 
of  Delcription,  with  an  account  of 
what  is  laid,  and  whatever  elfe  he 
would  relate  were  he  only  to  make 
a  Written  Hiftory  $  Or  if  he  would 
defenbe  the  Picture  he  defign'd  as 
il  it  were  already  done.     And  tho' 

per- 


(  69  ) 

perhaps  it  may  feem  at  firft  to  be 
too  much  Trouble,  it  may  in  the 
main  favehim  fome,  as  well  as  ad- 
vance his  Reputation. 

There    are    Pictures  reprefenting 
not   one  particular  Story,    but    the 
Hiftory  of    Pbilo/opby,   of  Poetry,  of 
Divinity,  the  Redemption  of  Man- 
kind,   and    the   like:    Such    is  the 
School  of  Athens,  the  Tarnajfus,  the 
Picture    in   the     Vatican  commonly 
caird  the  Difpute  of  the  Sacrament, 
all  of  (ftafaelle;  and  the  large  one  of 
Frederico  Zuccaro  of  the  Annuncia- 
tion, and  God    the  Father,  with   a 
Heaven,   the    Prophets,    <src.    Such 
Compofitions  as  Thefe  being  of  a 
different   nature  are  not  fubjeft  to 
the  fame  Rules  with  Common   Hi- 
ftorical  Pictures  5   but  Here  muft  be 
(principal,     and    Subordinate     Figures, 
and  Attions  5     As  the  Plato  and  A- 
riftotle  in  the  School  of  Athens,    th~ 
Apollo  in  the  Pamajjus}  &c. 

F  3  Now 


r  70) 

Now  I  have  mention'd  this  De- 
fiant, I  cannot  pafs  it  over  without 
going  a  little  out  of  my  way  to  ob- 
ferve  fome  Particulars  of  that  Ad- 
mirable Group  of  the  three  Poets, 
Homer,  Virgil,  and  Dante  3  (for  I 
coniider  it  as  'tis  in  the  Print  grav'd 
by  Marc  Antonio :  In  the  Painting 
(^if  .elk  has  put  Himfelf  with  them  5 
beiides  that  'tis  different  in  feveral 
other  things.) 

The  Figure  of  Homer  is  an  admi- 
rable one,  and  manag'd  with  great 
propriety  :  He  is  Group  d  with  others, 
but  is  neverchelefs  alone  :  He  ap- 
pears to  be  rais'd  in  Contemplation, 
repeating  fome  of  his  own  Sublime 
Verfes,  which  he  does  with  a  moft 
becoming  Action  $  And  that  pecu- 
liarity of  his  Works  having  been 
taken  from  his  Mouth  as  he  hap- 
pened to  utter  them,  and  fo  remem- 
ber'd,  and  written,  and  afterwards 
the  fcatter'd  parts  colleited,  and 
connected  together^  and  form  d  in- 
to 


(7i  ) 

to  the  Volumes  we  have,  is  finely 
intimated  by  a  Young  Man  attend- 
ing to  him,  and  ready  to  write 
what  he  fays. 

Behind  this  Great,  this  ONLY 
Man,  ftands  Virgil,  and  Dante,  the 
former  directing  the  other  to  Apollo: 
This  is  a  Compliment  (Rafaelle  has 
made  to  Dante,  by  whofe  Direction 
he  has  done  this ;  For  in  his  firft 
Canto  of  Hell  he  fays, 

0  de  gli  altrl  poeti  honore  e  lume, 

Vagliami  il  lungo  ftudio,    elgrande  a- 

more 
Che  mha  fatto  cercar  lo  tuo  Volume 

7u  fei  lo  mio  maeftro,  el  mio  autore  : 
Tufeifolo  colul  3  da  cm  to  tolfi 
Lo  hello  Jiiloy  che  mha  fatto  honore. 

In  the  fame  Canto,  he  makes  Vir- 
gil  fay, 

Ondio  per  lo  tuo  me  penfo  e  difcemo, 
Che  tu  mefegui  3  <jr  to  faro  tua  guida. 

F  4  Soon 


(   72   ) 

Soon  after  Dante  fays, 

Et  to  a  lul  3  Poeta  io  it  richieggio 

Ter  quello  Dio — - 
Che  tu  mi  merit.  Sec. 

And  ends  the  Cantoy 

Jllbor  ji  mojfe  3  &  ioli  tenrii  dietro. 

But  G(afaelle  has  made  his  beloved 
Dante  ftill  a  greater  Complement, 
in  placing  him  with  Homer,  and  Vir- 
gil 3  for  tho'  he  was  an  excellent 
Poet,  His  was  Another,  and  a  very- 
Inferior  kind  of  Poetry  :  This  too 
(fiafaelle  did  by  Dante*  own  Dire&i- 
on,  in  his  fourth  Canto  of  Hell. 

Cofe  Yidi  adunar  la  bella  fcuola  3 

Di  quel  Signor  de  laltijjimo  Canto  5 
Che  four  a  gli  altri,  comaquda  uola. 

Da  Chehber  ragionato  injieme  alquanto  3 
Volferfi  a  me  con  Jaluteuol  cenno  3 
El  mio  maejlro  forrife  di  tanto 

Eft* 


r  73 ; 

E  piu  dhonore  ancor  ajfai  mi  femio  : 
CheJJi  mifecer  de  la  loro  Jchiera. 

It  appears  that  (fiafaelle  was  fond 
of  Dante  $  for  befides  what  he  has 
done  here,  he  has  put  him  amongft 
the  Divines  in  his  Difpute  of  the 
Sacrament,  to  which  he  had  very 
little  Pretence  5  befides  that,  he  calls 
the  three  Parts  of  his  Poem  HeaVeny 
Earth,  and  Hell.     To  return. 

In  Pictures  reprefenting  the  Cha- 
racter of  fome  Perfon,  if  that  Perfon 
is  in  the  Picture,  'tis  the  Principal 
Figure,  if  not,  the  Virtue  he  is  in- 
tended to  be  chiefly  celebrated  for 
as  the  principal  part  of  the  Character 
is  it. 

In  Thofe  of  Humane  Life,  or 
where  fome  particular  Leflbn  is  to 
be  taught,  or  the  like  5  that  which 
a  Writer  would  chiefly  infill:  upon  is 
to  be  the  Principal  Figure,  or  Group. 

In  alltbefe  kinds  offiHures  the  (pain- 
ter Jhould  avoid  too  great  a  Luxuriancy 

of 


(74) 

of  Fancy,  and  Obfcurity.     The  Figures 
reprefenting    any  Virtue,  Vice,    or 
other  Quality,  fhould  have  fuch  /»- 
Jignia  as  are  authoriz  d  by  Antiqui- 
ty, and  Cuftom  5  or  if  any  be  ne- 
ceflfarily  of  his  Own  Invention,  his 
Meaning  fhould  be  apparent.   Paint- 
ing is  a  lort  of  Writing,  it  ought  to 
be  eafily  legible      There  are  fine  Ex- 
amples ot  cheie  in  the  Palace  of  Chigi, 
or  the  little  Fanie/e  in  (Rome  $  ^faetle 
has  there  painted  the  Fable  of  Cupid 
and    (pfycbe.    and    intermix  d    little 
Loves  with  the  Spoils  of  all  theGodsj 
and  laftly  one  with  a  Lyon,   and  a 
Sea-Horfe,  which  he  governs  as  with 
a  Bridle,  to  fhew  the  Univerfal  Em- 
pire of    Love      Signior  Dorigny  has 
made  Prints  of  the  whole  Work. 

Innumerable  Examples  of  thefe 
kinds  of  Reprefentations  might  be 
given  from  the  Works  of  the  Ancients 
and  Moderns,  the  Former  efpecially  5 
and  the  Iconologia  of  (ftipa  is  a  large 
Colle&ion  of  Such,  which  therefore 

I  will 


r  75  ^ 

I  will  not  Enlarge  upon  5  Only  there 
is  One  Important  inftance  ought  not 
to  be  pafs'd  over,  which  is  that  of 
the  True  God. 

Perhaps  the  Beft  way  is  to  leave 
it  to  Contemplation,    without  ima- 
gining any  Form  whatfoever.     3fy- 
bens  in  a  Drawing  I  have  has   done 
this  finely  5  Angels  are  hovering  on 
the  Wing,  and  feem  to  be  Rejoycing 
at  Something  that  has  happen'd  Be- 
low (I  fuppofe  'twas  intended  for  the 
Upper  part  of  the  Picture  of  the  Na- 
tivity :)  Above  Thefe  appears  a  great 
Glory,  and  Multitudes  of  Cherubims 
not  regarding  what  the  Angels  are 
intent   upon  but  looking  ftedfaftly 
Upwards,  as  if  the  Deity  was  There 
in  a  Peculiar  Manner  5  And  as  thefe 
ways  of  leaving  much  to  the  Imagi- 
nation have  great  Advantages  in  the 
vaftCompafs  that  is  given,  One  may 
alfo  fuppofe  He   is  approaching  to 
honour  the  Event  in  the  Lower  Part 
of  the  Picture, 

1  Bu, 


r  76  j 

But  the  Ufual  Way  of  Reprefent> 
ing  God  is  by  a  Humane  Form.  J 
will  not  enter  into  the  Queftion 
whether  this  fhould  be  done  at  all, 
or  no,  becaufe  Our  Church  diflikes 
it  3  but  certainly  thofe  that  do  under- 
take Thus  to  delineate  God,  ought 
to  carry  it  up  to  the  greateft  Dignity 
they  poflibly  can.  This  %ajaelle  was 
as  capable  of  as  ever  Man  was,  but 
(ftafaelle  has  not  always  been  equal 
to  Himfelf  in  this  particular,  for 
fometimes  the  Figure  appears  to  be 
not  only  as  one  would  defcribe  the 
Ancient  of  Vays,  but  Feeble,  and  De- 
crepid.  Giulio  (Romano  in  a  Drawing  I 
have  of  him  of  the  Delivery  of  the 
Law  to  Mofes  has  avoided  this  Fault, 
but  fallen  into  another  5  he  has  made 
the  Face  of  a  Beautiful,  vigorous  old 
Man,  but  (what  one  would  not  have 
expected  from  him)  there  wants 
Greatnefs,  and  Majefty.  In  the  Hi- 
(lories  of  the  Bible  which  (fiafaelk 
painted  in  the  Vatican,  there  are  fe- 

veral 


(77  ) 

veral  Reprefentations  of  the  Deity, 
which  have  a  wonderful  Sublimity 
in  them,  and  are,  for  the  mod  part, 
perfectly  well  adapted  to  the  Mojaical 
Idea  which  was  His  affair  5  This  God 
is  not  Our  God,  He  appears  to  Us 
under  a  more  amiable  View.  When 
the  Bleffed  Trinity  is  drawn,  efpeci- 
ally  when  the  Virgin-Mother  of  God 
is  alfo  introduced,  it  is  fomething 
too  much  favouring  of  Tolytheifm.  I 
have  a  Drawing  ol  (ftafaelle,  where 
the  Idea  he  feems  to  have  intended 
to  give  is  Majefty,  and  Awfulnefs, 
together  with  great  Benignity  5  not 
however  fo  lavifli  of  his  Benefits, 
but  that  with  our  Good  things  there 
is  a  Mixture  of  llnhappinefs  3  tho' 
ftill  the  Good  abundantly  preponde- 
rates, and  manifefts  the  Great  Lord 
of  the  Univerfe  to  be  an  Indulgent, 
and  Wife  Father.  This  is  an  Idea 
worthy  of  the  Mind  of  (Rafaelle. 
The  Drawing  is  a  (ingle  Figure  of  a 
Beautiful  Old  Man,  nor  Decay'd,  or 

Impair'd 


C  78  ) 

Impair'd  by  Age  5  there  is  Majefty 
in  his  Face,  but  not  Terror  $  he  fits 
upon  the  Clouds,  his  Right  Hand 
lifted  up  giving  his  Benediction  5 
the  Left  Arm  is  wrap'd  in  his  Dra- 
pery, and  unemployed,  only  that 
Hand  appears,  and  refts  on  the  Cloud 
near  his  Right  Elbow.  A  Man  can- 
not look  upon,  and  confiderthis  ad- 
mirable Drawing  without  fecretly 
Adoring,  and  Loving  the  Supream 
Being,  and  particularly  for  enduing 
one  of  our  own  Species  with  a  Ca- 
pacity fuch  as  that  of  Q{af allies. 

In  (portraits  the  Invention  of  the 
Painter  is  exercifed  in  the  Choice  of 
the  Air,  and  Attitude,  the  Action, 
Drapery,  and  Ornaments,  with  re- 
fpe£t  to  the  Character  of  the  Perfon. 

He  ought  not  to  go  in  a  <I{pad,  or  paint 
other  people  as  he  would  choo/e  to  be  drawn 
himfelf.  The  Drefs,  the  Ornaments, 
the  Colours,  rauft  be  fuited  to  the 
Perfon,  and  Character.  I  remember 
a  good  Obfervation  of  an  Ingenious 

Gen- 


(79) 

Gentleman  upon  two  late  Painters  -s 
One  (he  faicl)  could  not  paint  an  Im- 
pudent Fellow,  nor  the  Other  a  Mo- 
deft  one,  they  put  fo  much  of  Them- 
felves  in  every  thing  they  did. 

Concerning  what  fort  of  Refem- 
blances  Portraits  ought  to  have,  O- 
pinions  are  divided  5  Some  are  for 
Flattery,  Others  for  Exad  Likenefs. 

If  the  Former  be  receiv'd,  Care 
muft  be  taken  that  it  be  really  Flattery » 
and  not  too  Apparently  fo. 

Many  Painters  have  taken  a  Fancy 
to  make  Caricaturaes  of  People's  Faces, 
that   is,  Exaggerating   the    Defeats, 
and  Concealing  the  Beauties,  how- 
ever preferving  the  Refemblance  5  the 
Reverfe  of  That  is  to  be  done  in  the 
Prefent  Cafe,  but  the  Character  muft 
be  feen  throughout,  or  it  ceafes  to  be 
a  Compliment  3  "JTis  the  Pidture  of 
Somebody  elfe,  or  of  Nobody,  and 
only  tells  the   Perfon  how  different 
He,  or  She  is  from  what  the  Painter 
conceives  to  be  Beauty. 

If 


(  8o  ) 

If  Exaft  Likenefs  is  pretended  to, 
all  Accidents,  Bad  Weather,  Indigo  fit  ion, 
Sec.  mufl  be  allow' d  for  $  and  as  there 
are  fome  things  in  Nature  that  Art  can- 
not  reach,  if  fomething  be  not  done  to  com- 
penfate  for  That  deficiency,  the  TiElure 
will  he  no  more  an  Exafi  Copy  of  the  Face 
than  a  Literal  Translation  will  he  of  the 
Original  Book.  Be  fides,  whoever  aims 
only  at  ExaElnefi  will  certainly  fall  Jhort 
of  it.  We  cannot  tell  affuredly  how 
Like  the  Pictures  were  of  thofe  Great 
Mafters  we  fo  juftly  admire  ,  bur  it 
appears  to  be  exceeding  Probable 
that  Van-Vycl^  with  all  his  Excellen- 
cies fell  frequently  below  the  Truth  3 
his  Pictures  were  doubtlefs  exceeding 
Like,  butfurely  fome  of  them  might 
have  been  More  fo,  by  being  more 
Graceful. 

That  Admirable  Family-Picture 
of  the  Senators  of  Titian  which  the 
Duke  of  Somerfet  has,  is  finely  In- 
vented :  The  eldeft  of  the  three  is 
apparently  the  Principal  Figure,  and 

has 


(8i  ) 

has  the  A&ion,  and  Manner  of  an 
old  Man  $  the  two  others  are  well 
placed,  and  in  proper  Attitudes  : 
The  Boys  are  got  upon  the  Steps 
with  a  Dog  amongft  'em  5  a  rare 
Amufementfor  Them  while  the  old 
Gentlemen  are  at  their  Devotions, 
which  is  Their  Bufinefs !  The  Girls 
are  more  Orderly^and  attend  in  Ap- 
pearance to  the  Affair  in  hand  :  The 
Attitudes  of  the  Figures  in  General 
are  Juft,  and  Delicate  $  the  Drape- 
ries, the  Sky,  every  thing  through- 
out the  whole  Picture  is  well 
Thought,  and  Conducted.  Nor  is 
there  any  Appearance  of  Flattery,  at 
leaft  not  to  a  Degree  as  to  hurt  the 
Refemblance. 

Some  Subjects  are  in  themfelves 
fo  Difadvantageous  as  to  ftand  in 
need  of  fomething  to  Raife  their 
Chara&er.  Of  this  I  have  a  fine 
Example  in  a  Head  of  Marble  which 
feems  to  have  been  done  for  a  Mo- 
nument, the  Face  itfelf  is  fomething 

G  Poor, 


(8a  ) 

Poor,  and  tho  never  fo  well  fol- 
lowed would  not  have  pleas'd  •  the 
Sculptor  therefore  has  rais'd  the  Eye- 
brows, and  open'd  the  Mouth  a  lit- 
tle, and  by  this  Expedient  has  given 
a  Spirit,  and  a  Dignity  to  a  Subject 
not  confiderableOtherwife$  befides 
that  probably  the  Perfon  was  ao 
cuftomed  to  give  himfelf  fome  fuch 
Air,  and  then  This  has  this  farther 
Advantage,  that  it  makes  the  Re- 
femblance  more  remarkable. 

I  need  not  go  through  the  other 
Branches  of  Painting  5  as  Landfcapes, 
Battels,  Fruit,  <&c.  what  has  been 
already  faid  is  {Mutatis  mutandis)  ap- 
plicable to  any  of  Thefe  :  Nor  fliall 
I  concern  my  felf  with  'em  hereafter, 
when  I  treat  of  the  other  Parts  of 
Painting,  for  the  fame  Reafon. 

There  are  an  Infinity  of  Artifices 
to  Hide  Defedts,  or  Give  Advan- 
tages, which  come  under  this  Head 
of  Invention  5  as  does  all  Caprices, 
Grotefcjue,    and   other  Ornaments, 

Masks, 


(  83  ) 

Masks,  &c*  together  with  all  Un- 
common, and  Delicate  Thoughts  : 
fuch  as  the  Cherubims  attending  on 
God  when  he  appeared  to  Mo/es  in 
the  Burning  Bufh,  which  <%afaelle 
has  painted  with  Flames  about  them 
inftead  of  Wings  •  an  Angel  run- 
ning, and  holding  up  both  Arms  as 
juft  raifing  himfelf  for  Flight,  of 
which  I  have  a  Drawing  of  Tar- 
meggiano}  as  well  as  many  other  Ex- 
amples of  thefe  kinds  in  Drawings 
of  (ftafaelle,  Michelangelo,  Giulio,  Leo- 
nardo da  Vinci,  &c.  They  are  to  be 
found  perpetually  in  the  Works  of 
the  Great  Mafters,  and  add  much  to 
their  Beauty,  and  Value. 

The  mention  of  Grotejques  fuggefts 
a  Rule  to  my  Mind  which  1  will 
infert:  ?Tis  this,  That  all  Creatures  of 
Imagination  ought  to  have  Airs,  and 
Actions  given  'em  as  Whimjlcal,  and  Chi- 
merical as  their  Forms  are.  I  have  a 
Drawing  of  the  School  of  the  Ca- 
tacches  of  a  Male  and  Female  Satyr 
G  2  fitting 


r  s4) 

fitting  together )  There  is  a  great 
deal  of  Humour  in  it,  fo  as  to  be  a 
fine  Burlefque  upon  Corydon>  and 
(phillis.  The  Anatomy  Figures  in 
Vef alius,  faid  to  be  defign'd  by  Titia?i, 
are  prettily  fancied:  There  is  a  Series 
of  denuding  a  Figure  to  the  Bone, 
and  they  are  all  in  Attitudes  feem- 
ing  to  have  moft  Pain  as  the  Ope- 
ration goes  on,  till  at  laft  they  Lan- 
guid, and  Dye  :  But  Michelangelo 
has  made  Anatomy  Figures  whofe 
Faces  and  Actions  are  impoflible  to 
be  defcrib'd,  and  the  moft  delicate 
that  can  be  imagined  for  the  pur- 
pofe.  Mr.  Fontenelle,  in  his  Dialogue 
betwixt  Homer  and  JEfop,  after  Ho- 
mer had  faid  he  intended  no  Allego- 
ry, but  to  be  taken  Literally,  makes 
the  other  demand  how  he  could 
imagine  Mankind  would  believe 
fuch  ridiculous  Accounts  of  the  Gods  5 
O  (fays  he)  you  need  be  in  no  Pain 
about  That  $  If  you  would  give  them 
Truth  you  rauft  put  ic  in  a  Fabu- 
lous 


r  85  ; 

lous  Drefs,    but  a  Lye  enters  freely 
into   the  Mind  of  Man  in  its  own 
proper  Shape.     Why  then,  fays  Al- 
jop,  I  am  afraid  they  will  believe  the 
Bpafts  have  fpoken  as  I  have  made 
'em.     Ah  1  (fays  Homer)    the  Cafe 
is  alter'd,    Men  will  be  content  that 
the  Gods  ftiould  be  as  great  Fools  as 
Themfelves,    but    they   will    never 
bear  that  the  Beafts  fhould  be  asWife. 
It  would   be  well  if  Painters  could 
reprefent    Gods,     Heroes,     Angels, 
and   other  Superior    Beings ,     with 
Airs,   and  Actions   more  than  Hu- 
mane; but  to  give  Satyrs,   and  o- 
ther  Inferior  Creatures  a  Dignity  e- 
qual  to  Men,    would  be  unpardon- 
able. 

In  order  to  aflift,  and  improve  the 
Invention ,  a  Painter  ought  to  Cony  erf e 
with,  and  ObferVe  all  Jorts  of  People, 
chiefly  the  Beft,  and  to  read  the  bejl 
Books,  and  no  other  :  He  Jhould  ObferVe 
the  different,  and  Various  ejfeEl  of  Mens 
Taffionsj  andthofe  of  other  Animals,  and  in 

G  3  Jhort 


( 8<f ; 

fliort,  all  Nature  5  and  make  Sketches  of 
what  he  obferVes  to  help  his  Memory. 

So  fliould  he  do  of  what  he  fees  in 
the  Works  of  Great  Mafters,  whether 
(painters,  or  Sculptors,  which  he  cannot 
always  fee,  and  have  recourfe  to. 

Nor  need  any  Man  be  afham'd 
to  be  fomecimes  a  Plagiary,  'tis 
what  the  greateft  Painters,  and  Po- 
ets have  allow'd  chemfelves  in.  (2^- 
faelle  has  borrow'd  many  Figures, 
and  Groups  of  Figures  from  the  An- 
tique'; and  Milton  has  even  Tranfla- 
ted  many  times  from  Homer,  Virgil, 
Dante,  and  Taffo,  and  put  them  as 
his  Own  :  Virgil  Himfelf  has  copied. 
And  indeed  'tis  hard  that  a  Man 
having  had  a  good  Thought  fhould 
have  a  Patent  for  it  for  Ever.  The 
Painter  that  can  take  a  Hint,  or  in- 
fert  a  Figure,  or  Groupes  of  Figures 
from  another  Man,  and  mix  thefe 
with  his  Own,  fo  as  to  make  a  good 
Compofition,  will  thereby  eftablifh 
fuch  a  Reputation  to  himfelf,    as  to 

be 


(87) 

be  above  fearing  to  fuffer  by  the 
fliare  thofe  to  whom  he  is  beholden 
will  have  in  it. 

(^afaHle,  and  Giulio  Romano  are 
efpecially  Excellent  for  Invention : 
Amongft  their  other  Works  thofe 
of  the  former  at  Hampton* Court,  and 
in  the  Vatican  $  and  of  the  latter  the 
Palace  of  T.  near  Mantua  are  Effici- 
ent Proofs  of  it.  There  are  Prints 
of  almoft  all  thefe  5  and  fBellori  has 
defcribd  thofe  in  the  Vatican,  as  Fdi- 
hien  has  that  Stupendious  Work  of 
Giulio. 

Of  Expression, 

WHateVer  the  general  Character  of 
of  the  Story  is,  the  Titture  mujl 
difcoVer  it  throughout,  whether  it  he  Joy- 
ous, Melancholy,  GraVe,  Terrible,  &cc. 
The  Nativity,  Refurre&ion,  and 
Afcenfion  ought  to  have  the  Gene- 
ral Colouring,  the  Ornaments,  Back- 
ground,  and  every  "thing  in  them 

G  4  Riant, 


(  88  ) 

Riant,  and  Joyous,  and  the  contra- 
ry in  a  Crucifixion,  Interment,  or  a 
<Pieta.  QThe  Blefled  Virgin  with 
the  dead  Chrift.] 

But  a  Diftindtion  mud  be  made 
between  Grave,  and  Melancholy,  as 
in  a  Holy  Family  (pi <Raf telle  s  Defign 
at  leaft)  which  I  have,  and  has  been 
mentiond  already  5  the  Colouring 
is  Brown,  and  Solemn,  but  yet  all 
together  the  Pi<5l'ure  has  not  a  Dif- 
mal  Air,  but  quite  otherwife.  I 
have  another  Holy  Family  of  (Rubens, 
painted  as  his  manner  was,  as  if  the 
Figures  were  in  a  Sunny  Room :  I 
have  confider'd  what  effect  it  would 
have  had  if  <$(af allies  Colouring  had 
been  the  fame  with  (Rubens  s  on  this 
Occafion,  and  doubtlefs  it  would 
have  been  the  Worfe  for  it.  There 
are  certain  Sentiments  of  Awe,  and 
Devotion  which  ought  to  be  rais'd 
by  the  fir  ft  Sight  of  Pictures  of  that 
Subject,  which  that  Solemn  Colour- 
ing contributes  very  much  to,    but 

not 


not  the   more  Bright,  though  upon 
other  Occafions  preferable. 

I  have  feen  a  fine  Inftance  of  a 
Colouring  proper  for  Melancholy 
Subje&s  in  a  Tieta  of  VaiuVyck^: 
That  alone  would  make  one  not  on- 
ly Grave,  but  fad  at  firft  Sight  3  And 
a  Coloured  Drawing  that  I  have  of 
the  Fall  of  (phaeton  after  Giulw  (Z^o- 
manoy  (liews  how  much  This  contri- 
butes to  the  Expreflion.  'Tis  differ- 
ent from  any  Colouring  that  ever  I 
faw,  and  admirably  adapted  to  the 
Subject,  there  is  a  Reddifh  Purple 
Tinft  fpread  throughout,  as  if  the 
World  was  all  invelopp'd  in  Smoul- 
dering Fire. 

There  are  certain  little  Circumflances 
that  contribute  to  the  Exprcffien.  Such 
an  effect  the  Burning  Lamps  have 
that  are  in  the  Carton  of  Healing 
at  the  Beautiful  Gate  of  the  Temple; 
one  fees  the  Place  is  Holy,  as  well 
as  Magnificent. 

The 


(9°) 

The  large  Fowl  that  are  feen  on 
the  Fore-Ground  in  the  Carton  of 
the  Draught  of  Fifties  have  a  good 
effect.  There  is  a  certain  Sea-Wild- 
nefs  in  them,  and  as  their  Food  was 
Fifti  they  contribute  mightily  to 
Exprefs  the  Affair  in  Hand,  which 
was  Fifliing.  They  are  a  fine  part 
of  the  Scene. 

Tajferotto  has  drawn  a  Chrift's 
Head  as  going  to  be  Crucified,  the 
Expreffion  of  which  is  marvelloufly 
fine  3  but  (excepting  the  Air  of  the 
Face)  nothing  is  More  moving  3  not 
the  part  of  the  Crofs  that  is  feen, 
not  the  Crown  of  Thorns,  nor  the 
Drops  of  Blood  falling  from  the 
Wounds  That  makes,  nothing  can 
Exprefs  more  than  an  Ignominious 
Cord  which  comes  upon  part  of  the 
Shoulder  and  Neck.  <fyjfaelle!Borg- 
bini,  in  his  Q(ipofo,  in  the  Life  of <paf- 
jerottOy  has  given  an  Account  of  this 
Drawing,  which  with  others  of  that 
Mafter  (by  him  alfo  fpoken  of )  I 
have.  TH 


<9*) 

The  (fybes,  and  other  Habits  of  the 
Figures  3  their  Attendants,  and  Enfigns 
of  Authority,  or  Dignity,  as  Crowns, 
Maces,  Sec.  help  to  exprefs  their  Vi- 
JlinSl  CharaBers  5  and  commonly  eVen 
their  <Place  in  the  Compofition.  The 
Principal  Perfons,  and  A&ors  muft' 
not  be  put  in  a  Corner,  or  towards 
the  Extremities  of  the  Pi&ure,  unlefs 
the  Neceflity  of  the  Subject  requires 
it.  AChrift,  or  an  Apoftje  mutt  not 
be  drefs'd  like  an  Artificer,  or  aFifh- 
erman  $  a  Man  of  Quality  mutt  be 
diftinguifh'd  from  one  of  the  Lower 
Orders  of  Men,  as  a  Well-bred  Man 
always  is  in  Life  from  a  Peafant. 
And  fo  of  the  reft. 

Every  body  knows  the  common, 
or  ordinary  Diftin&ions  by  Drefs  < 
but  there  is  one  Inftance  of  a  parti- 
cular kind  which  I  will  mention,  as 
being  likely  to  give  ufeful  Hints  to 
this  purpofe,  and  moreover  very 
curious.  In  the  Carton  of  Giving 
the  Keys   to  S.  <Peter}  Our  Saviour 

is 


(9*) 

is  wrapt  only  in  one  large  piece  of 
white  Drapery,  his  Left  Arm,  and 
Bread,  and  part  of  his  Legs  naked  $ 
which  undoubtedly  was  done  to  de- 
note him  Now  to  appear  in  his  Re- 
furre£tion-Body,  and  not  as  before 
his  Crucifixion,  when  This  Drefs 
would  have  been  altogether  impro- 
per. And  this  is  the  more  remark- 
able, as  having  been  done  upon  fe- 
cond  Thoughts,  and  after  the  Pi- 
cture was  perhaps  finiflVd,  which  I 
know  by  having  a  Drawing  of  this 
Carton,  very  old,  and  probably 
made  in  ^afaelleh  time,  tho'  not 
of  his  hand,  where  the  Chrift  is 
fully  Clad  3  he  has  the  very  fame 
large  Drapery,  but  one  under  it  that 
covers  his  Breaft,  Arm,  and  Legs 
down  to  the  Feet.  Every  thing  elfe 
is  pretty  near  the  fame  with  the  Car- 
ton. 

That  the  Face,  and  Jir0  as  well  as 
our  Actions,  indicate  the  pftnd  is  indis- 
putable.    Tis  leen  by  every  body 

in 


(93) 

in  the  Extreams  on  both  fides.  For 
example  3  Let  two  Men,  the  one 
a  Wife  Man,  and  the  other  a  Fool, 
be  feen  together  Drefs'd,  or  Difguis'd 
as  you  pleafe,  One  will  not  be  mi- 
ftaken  for  the  Other,  but  diftin- 
guifti'd  with  the  firft  Glance  of  the 
Eye ;  and  if  thefe  Charadters  are 
ftamp'd  upon  the  Face,  fo  as  to  be 
read  by  every  one  when  in  the  ut- 
moft  Extreams,  they  are  fo  Propor- 
tionably  when  more,  or  lefs  remov'd 
from  them,  and  Legible  accordingly, 
and  in  proportion  to  the  Skill  of  the 
Reader-  The  like  may  be  obfer/d 
of  Good,  and  Ill-Nature,  Gentile- 
nefs,  Rufticity,  &c. 

Every  Figure,  and  Animal  mufl  be  af- 
fected in  the  (pitture  as  one  Jhould  fuppoje 
they  Would,  or  Ought  to  be.  And  all  the 
Expreffions  of  the  federal  fpafjions,  and 
Sentiments  mufl  be  made  with  regard  to 
the  Characters  of  the  ^crfons  moved  by 
them.  At  the  Railing  of  Lazarus^ 
fome  may  be  allow'd  to  be  made  to 

hold 


C  94  ) 

hold  fomething  before  their  Nofes, 
and  this  would  be  very  juft,  to  de- 
note That  Circumftance  in  the  Sto- 
ry, the  Time  he  had  been  dead  5  but 
this  is  exceedingly  improper  in  the 
laying  our  Lord  in  the  Sepulchre^ 
altho>  he  had  been  dead  much  lon- 
ger than  he  was  3  however,  Torde- 
none  has  done  it.  When  Apollo  fleas 
Marfyas,  He  may  exprefs  all  the  An- 
guifh,  and  Impatience  the  Painter 
can  give  him,  but  not  fo  in  the  Cafe 
of  S.  Bartholomew.  That  the  Bleffed 
Mary  fhould  fwoon  away  through 
the  Excefs  of  her  Grief  is  very  pro- 
per to  fuppofe,  but  to  throw  her  in 
fuch  a  Pofture  as  Daniel  da  Voiterra 
has  done  in  that  famous  Picture  of 
the  Defcent  from  the  Crofs,  is  by  no 
means  juftifiable.  He  has  iucceeded 
much  better  in  that  Article  if  a  Draw- 
ing I  have  which  is  imputed  to  him 
is  really  of  him  3  (it  was  once  in  the 
Collection  of  Georgw  Vafariy  as  ap- 
pears by  its  Border,  w  hich  is  of  his 

Hand  5) 


(95  ) 

Hand  3)  There  the  Expreffions  of 
Sorrow  are  very  Noble,  Uncommon, 
and  Extraordinary.  But  even  5^- 
faelle  himfelf  could  not  have  ex- 
prefs'd  this  Accident  with  more  Dig- 
nity, and  more  afte&ing  than  Bat- 
tifla  Franco,  and  Tolydore  have  done 
in  Drawings  I  have  of  them  :  if  at 
lead  that  laft  is  of  the  Hand  to 
whom  'tis  afcrib'd,and  not  ^afaellcsy 
or  feme  other  not  inferior  to  him  in 
this  inftance. 

tpolydore,  in  a  Drawing  of  the 
fame  Subject  (which  I  alfo  have) 
has  finely  exprefs'd  the  Exceffive 
Grief  the  Virgin,  by  intimating 
'twas  Otherwiie  Inexpreffible  :  Her 
Attendants  difcover  abundance  of 
Paffion,  and  Sorrow  in  their  Faces, 
but  Hers  is  hid  by  Drapery  held  up 
by  both  her  Hands :  The  whole  Fi- 
gure is  very  Composed,  and  Quiet  5 
no  Noife,  no  Outrage,  but  great 
Dignity  appears  in  her,  fuitable  to 
her  Character.   This    Thought   77- 

manthesj 


tnanthes  had  in  his  Picture  of  Iphige- 
may  which  he  probably  took  from 
Euripides  $  as  perhaps  This  of  Tolydore 
is  owing  to  One,  or  Both  of 'em. 

Putting  the  Fore-finger  in  the 
Mouth  to  exprefs  an  Agony,  and 
Confufion  of  Mind  is  rarely  ufed.  I 
don't  remember  to  have  feen  it  any 
where  but  in  the  Tomb  of  the  Na- 
foniiy  where  the  Spbynx  is  propofing 
the  Riddle  to  OEdipus  $  and  in  a 
Drawing  I  have  of  Giulio  %pmanoy 
and  which  is  painted  in  the  Palace 
of  T.  at  Mantua.  Giulio  had  not  this 
Thought  from  the  other,  That 
Tomb  not  being  difcover'd  in  his 
Time  5  but  in  both  thefe,  this  Ex- 
predion  is  incomparably  fine. 

In  that  admirable  Carton  of 
S.  Taul  preaching,  the  Expreflions 
are  very  juft,  and  delicate  through- 
out :  Even  the  Back-Ground  is  not 
without  its  Meaning  $  'tis  ExpreflTive 
of  the  Superftition  S.  Tatil  was  preach- 
ing againft.     But  no  Hiftonan,    or 

Ora- 


(97) 

Orator  can  poflibly  give  me  fo  great 
an  Idea  of  that  Eloquent,  and  Zea- 
lous Apoftle  as  that  Figure  of  his 
does  3  all  the  fine  things  related  as 
fa>id,  or  wrote  by  him  cannot  3  for 
there  I  fee  a  Perfon,  Face,  Air,  and 
Action,  which  no  Words  can  luffi- 
ciently  defcribe,  but  which  aflure 
me  as  much  as  Thofe  can,  that  that 
Man  muft  ipeak  good  Senfe,  and  to 
the  purpofe.  And  the  different  Sen- 
timents of  his  Auditors  are  as  finely 
exprefs'd  3  Some  appear  to  be  Angry, 
and  Malicious,  Others  to  be  Atten- 
tive, and  reafoning  upon  the  Matter 
within  themfelves,  or  with  one  ano- 
ther 3  and  One  efpecially  is  appa- 
rently Convinc'd.  Thefe  laft  are 
the  Free-Thinkers  of  That  time,  and 
are  placed  Before  the  Apoftle  3  the 
others  are  Behind  him,  not  only  as 
caring  lefs  for  the  Preacher,  or  the 
Doctrine,  buttoraife  the  Apoftolick 
Character,  which  would  loie  fome- 
thing  of  its  Dignity,  if  his  Mahgners 
H  were 


(98) 

were  fuppofed  to  be  able  to  look  him 
in  the  Face. 

Elymas  the  Sorcerer  is  Blind  from 
Head  to  Foot,  but  how  Admirably 
is  Terror,  and  Aftonifhment  expref- 
fed  in  the  People  prefent,  and  how 
Varioufly,  according  to  the  feveral 
Characters !  The  Proconful  has  Thefe 
Sentiments  but  as  a  (Roman,  and  a 
Gentleman  5  the  reft  in  feveral  De- 
grees, and  Manners. 

The  fame  Sentiments  appear  alfo 
in  the  Carton  of  the  Death  of  Ana- 
nits,  together  with  thofe  of  Joy,  and 
Triumph  which  naturally  arifes  in 
good  Minds  upon  the  fight  of  the 
effects  of  Divine  Juftice,  and  the 
Victory  of  Truth. 

The  Airs  of  the  Heads  in  my  Holy 
Family  of  ^afaelle  are  perfectly  fine, 
according  to  the  ieveral  Characters  5 
that  of  the  Blefled  Mother  of  God 
has  all  the  Sweetnefs,  and  Goodnefs 
that  could  poffibly  appear  in  her  felf  5 
what  is  particularly  remarkable  is 

that 


(99) 

that  the  Chrift,  and  the  S.  John  are 
both  fine  Boys,  but  the  latter  is  appa- 
rently Humane,  the  other,  as  ic 
ought  to  be,  Divine. 

Nor  is  the  Expreflion  in  my  Draw- 
ing of  the  Defcent  of  the  Holy  Ghoft 
lefs  excellent  than  the  other  parts  of 
it.  (I  wifh  it  had  been  equally  well 
Preferv'd. )  The  Blefled  Virgin  is 
feated  in  the  Principal  part  of  the 
Pi&ure,  and  fo  Diftinguifh'd  as  that 
none  in  the  Company  feems  to  pre- 
tend to  be  in  Competition  with  her  $ 
and  the  Devotion,  andModefty  with 
which  flie  receives  the  ineffable  Gift 
is  worthy  of  her  Character.  S.  Peter 
is  on  her  Right  Hand,  and  S.  John 
on  her  Left  5  the  former  has  his  Arms 
crofs'donhisBreaft,his  Head  reclin'd, 
as  if  afham'd  of  having  deny'd  fuch 
a  Mafter,  and  receives  the  Infpirati- 
on  with  great  Compofure  $  but  S.  John 
with  a  Holy  Boldnefs  raifes  his  Head, 
and  Hands,  and  is  in  a  mod  becom- 
ing Attitude  5  the  Women  behind 

H  2  S.  Mary 


(  IO° ) 

S.  Mary  are  plainly  of  an  Inferior 
Charader.  Throughout  there  is 
great  Variety  of  Expreflions  of  Joy 
and  Devotion,  extreamly  well  adapt- 
ed to  the  Occafion. 

I  will  add  one  Example  more  of 
a  fine  Expreflion,  becaufe  tho'  'tis 
very  Juft,  and  Natural,  it  has  not 
been  done  by  any  that  I  know  of, 
except  Ttntoret,  in  a  Drawing  I  have 
feen  of  him.  The  Story  is  our  Sa- 
viour's Declaration  to  the  Apoftles 
at  Supper  with  him,  that  one  of  em 
fliould  betray  him  :  Some  are  moved 
one  way,  and  fome  another,  as  is 
ufual,  but  One  of  'em  hides  his  Face, 
drop'd  down  betwixt  both  his  Hands, 
as  burft  into  Tears  from  an  Excels 
of  Sorrow  that  his  Lord  fliould  be 
betray'd,  and  by  one  of  Them, 

In  Portraits  it  muft  be  ft  en  whether 
the  Terfon  is  Grave,  Gayx  a  Man  ofBu- 
Jinejs,  or  Wit,  (plain,  Gentile,  &c.  Each 
Character  muft  have  an  Attitude, 
andDrefs  5  the  Ornaments  and  Back- 
Ground 


Ground  proper  to  it  :  Every  part  of 
the  Portrait,  and  all  about  it  muft 
be  Expreffive  of  the  Man,  and  have 
a  Refemblance  as  well  as  the  Fea- 
tures of  the  Face. 

If  the  (per/on  has  any  (particularities 
as  to  the  Set,  or  Motion  of  the  Head, 
Eyes ,    or  Mouth,    ( fuppofing   it  be  not 
Unbecoming)  thefe  muji  be  taken  notice 
of,  and  Strongly  pronounced.     They  are 
a  fort  of  Moving  Features ,  and  are 
as  much  a  part  of  the  Man    as  the 
Fix'd  ones  :    Nay,   fomerimes  they 
Raife  a  Low  Subject,  as  in  the  cafe 
of  my  Marble  Head  already  fpoken 
of,  and  contribute  more  to  a  Surpri- 
zing Likenefs  than  any  thing  elfe. 
Van-Dyckj  in   a  Pi&ure    I    have    of 
him,  has  given  a  brisk  Touch  upon 
the  Under-Lip,    which   makes   the 
Form,  and   Set  of  the  Mouth   very 
particular,  and  doubtlefs  was  an  Air 
which   Von  Diego  de  Gufman,    whofe 
Portrait  it  is,  was  accuftom'd  to  give 
himfelf,   which  an   Inferior   Painter 
H  3  would 


(    102    ) 

would  not  have  obferv'd,  or  not 
have  dar'd  to  have  pronounc'd,  at 
lead  fo  ftrongly:  But  This,  as  it  gives 
a  marvellous  Spirit,  and  Smartnefs, 
undoubtedly  gave  a  proportionable 
Refemblance. 

if  there  be  any  thing  particular  in  the 
Hifiory  of  the  &  erf  on  which  is  proper  to 
he  Exprefidy  at  it  is  fit  11  a  farther  Ve- 
fcription  of  him,  it  is  a  great  Improvement 
to  the  Portrait  to  them  them  that  kjiow 
th  at  Gr  cum  fiance.  There  is  an  Inftance 
of  this  in  a  Picture  of  Van-Dycl^mzde 
of  John  LyVens,  who  is  drawn  as  if 
he  was  Liftning  at  fomething5  which 
refers  to  a  remarkable  Story  in  that 
Man's  Life.  The  Print  is  in  the 
Book  of  Van-T>ycl(s  Heads  :  Which 
Book,  and  the  Heads  of  the  Artifts 
in  the  Lives  of  Giorgio  Vcifari  are  worth 
considering  with  regard  to  the  Variety 
of  Attitudes  fuited  to  the  ieveral  Cha- 
racters, as  well  as  upon  other  Ac- 
counts. 

RobeSj, 


(  I03  ) 

Robes,  or  other  Marks  of  Digni- 
ty, or  of  a  Profeffion,  Employment, 
or  Amufement,  a  Book,  a  Ship,  a 
Favourite  Dog,  or  the  like,  are  Hi- 
ftorical  Expreffions  common  in  Por- 
traits, which  mufl  be  mentioned  on 
this  occafion  5  and  to  fay  more  of 
'em  is  not  neceflary. 

There  are  federal  \qnds  of  Artificial 
Expreffions  indulgd  to  (painters,  and  pra- 
Hisd  by  them,  hecaufe  of  the  Difadvan- 
tage  of  their  Art  in  that  particular 7  in 
Comparifon  of  Words. 

To  exprefs  the  Senfeof  the  Wrath 
of  God  with  which  our  Blefled  Lord's 
Mind  was  fill'd  when  in  his  Agony, 
and  the  Apprehenfion  he  was  then 
in  of  his  own  approaching  Cruci- 
fixion, Frederico  Barocci  has  drawn 
him  in  a  proper  Attitude,  and  not 
only  with  the  Angel  holding  the 
Cup  to  him,  (That  is  common)  but 
in  the  Back-Ground  you  fee  the 
Crofs,  and  Flames  of  Fire.  This  is 
very  Particular,  and  Curious.  I  have 
the  Drawing,  H  4  In 


f  104  ) 

In  the  Carton  where  the  People 
of  Lyconia  are  going  to  Sacrifice  to 
S.  Paul,  and  Barnabas,  the  Occafion 
of  all  that  is  finely  told  :  The  Man 
who  was  heal'd  ofhis  Lamenefs  is  one 
of  the  forwardeft  to  exprefs  his  Senfe 
of  the  Divine  Power  which  appear'd 
in  thofe  Apoftles  3  and  to  fliew  it  to 
be  him,  not  only  a  Crutch  is  under 
his  Feet  on  the  Ground,  but  an  old 
Man  takes  up  the  Lappet  of  his 
Garment,  and  looks  upon  the  Limb 
which  he  remember'd  to  have  been 
crippled,  and  exprefies  great  Devo- 
tion, and  Admiration  ;  which  Sen* 
timents  are  alfo  feen  in  the  other  with 
a  mixture  of  Joy.  When  our  Savi- 
our committed  the  Care  ofhis  Church 
to  S.  Tetac,  the  Words  he  ufed  on  that 
Occafion  are  related  by  (ftafaelle,  who 
has  made  him  pointing  to  a  Flock 
of  Sheep,  and  S.  Peter  to  have  juft 
received  two  Keys.  When  the  Story 
oijojeptis  Interpretation  of  Pharaoh's 
Dreams   was  to  be  related,  %afa'elk 

has 


has  painted  thofe  Dreams  in  two 
Circles  over  the  Figures  5  which  he 
has  alfo  done  when  Jo/epb  relates  his 
Own  to  his  Brethren.  His  manner 
of  Expreflfmg  God's  dividing  the 
Light  from  Darknefs,  and  the  Cre- 
ation of  the  Sun,  and  Moon,  is  al- 
together Sublime.  The  Prints  of 
thofe  laft  mention'd  Pictures  are  not 
hard  to  be  found,  they  are  in  what 
they  call  (^afaelles  Bible,  but  the 
Paintings  are  in  the  Vatican  3  the  bed 
Treafury  of  the  Works  of  that  Di- 
vine Painter,  except  Hampton-Court. 
The  Hyperbolical  Artifice  of  37- 
manthes  to  exprefs  the  Vaftnefs  of  the 
Cyclops  \s  well  known,  and  was  migh- 
tily admired  by  the  Ancients  5  He 
made  feveral  Satyrs  about  him  as  he 
was  afleep,  fome  were  running  away 
as  frightned,  others  gazing  at  a  di- 
ftance,  and  one  was  meafunng  his 
Thumb  with  his  Thyrfus,  but  feem- 
ing  to  do  it  with  great  Caution  left 
he  fhould  awake.     This  Expreffion 

was 


(.o<?) 

was  copied  by  Giulio  Romano  with  a 
little  Variation.  Correggio,  in  his 
Pi&ure  of  Dana'e,  has  finely  exprefs'd 
the  Senfe  of  that  Story,  for  upon  the 
falling  of  the  Golden  Shower  Cupid 
draws  off  her  Linen  Covering,  and 
two  Loves  are  trying  upon  a  Touch- 
ftone  a  Dart  tip'd  with  Gold.  I  will 
add  but  one  Example  more  of  this 
kind,  and  that  is  of  Nicolas  Toujfin  to 
Exprefs  a  Voice,  which  he  has  done 
in  the  Baptifm  of  our  Saviour  by 
making  the  People  look  up,  and  a- 
bout,  as  'tis  natural  for  Men  to  do 
when  they  hear  any  fuch,  and  know 
not  whence  it  comes,  efpecially  if 
it  be  otherwife  Extraordinary,  as  the 
Cafe  was  in  this  Hiftory. 

Another  way  praEiis'd  by  (painters  to 
exprefs  their  Senje,  which  could  not  other- 
wife  he  done  in  Tainting,  is  by  Figures 
rcprefentati'Ve  of  certain  Things.  This 
they  learn'd  from  the  Ancients,  of 
which  there  are  Abundance  of  Ex- 
amples, as  in  the  Antonine  Pillar,  where 

to 


CM  ) 

to  exprefs  the  Rain  that  fell  when 
the  G{ptnan  Army  was  preferv'd  by 
the  Prayers  of  the  Tlieban  Legion,  the 
Figure  of  Jupiter  PluVms  is  introduced  : 
but  I  need  not  mention  more  of  thefe. 
%afa*lle  has  been  very  fparing  of  this. 
Expedient  in  Sacred  Story,  tho'  in 
the  Paflage  of  Jordan  he  has  repre- 
sented that  River  by  an  Old  Man 
dividing  the  Waters,which  are  rolPd, 
and  tumbled  very  nobly  5  but  in 
Poetical  Stories  he  has  been  very 
profufe  of  thefe,  as  in  the  Judgment 
of  Paris,  and  elfewhere.  The  like 
has  been  commonly  pra&is'd  by  An- 
nibak  Carracci,  Giulio  Romano,  and  o. 
thers.  And  there  are  fome  entire 
Pictures  of  this  kind,  as  in  thofe  made 
to  complement  Perfons,  or  Societies, 
where  their  Virtues,  or  what  are  at- 
tributed  to  them,  are  Thus  repre- 
fented. 

When  we  fee  in  Pidtures  of  the 
Madonna  thofe  of  S.  Francis,  S.  Cathe- 
rine, or  others    not    Cotemporary, 

nay 


r  io8j 

nay  even  the  Portraits  of  particular 
Perfons  living  when  the  Pictures  were 
made,  This  is  not  fo  blameable  as 
People  commonly  think.  We  are 
not  to  fuppofe  thefe  were  Intended 
for  pure  Hiftorical  Pictures,  but  on- 
ly to  Exprefs  the  Attachment  thofe 
Saints,  or  Perfons  had  for  the  Blefled 
Virgin,  or  their  great  Piety,  and 
Zeal :  So  1  have  feen  Families  with 
the  Robe  of  the  Mother  of  God 
fpread  over  their  Heads,  doubtlefs 
to  denote  their  putting  themfelves 
under  her  Protection.  With  this  Key 
a  great  many  feeming  Abfurdities  of 
good  Matters  will  be  difcover'd  to 
be  none. 

In  the  Hiftory  of  Heliodorusy  who 
was  miraculoufly  chaftifed  when  he 
made  a  Sacrilegious  Attempt  upon 
the  Trcafure  in  the  Temple  oijeru- 
falem,  (fiafaelle  has  brought  in  the 
then  Pope  (Julius  II.)  to  complement 
him  who  gloried  in  having  driven 
out  the  Enemies  of  the  Ecclefiaftical 
Scare.  "  The 


(  iop  ) 

The   famous  S.  Cecilia  at  Bolognd 
is  accompanied  by  S.tPaul,  S.John, 
5.  Juguftin,    and    S.  Mary  Magdalen  y 
not  as  being  fuppofed  to  have  liv'd 
together  3  but  poflibly  thofe   being 
Saints    of  different  Characters    are 
introduc'd  to  heighten  That  of  the 
Saint,  which  is  the  principal  one  in 
the    Compofition.      Tho'  Francifco 
Albani  thought  it  was  done  by  <fta- 
fa'elk  in   pure  Compliance  with  the 
pofitive  Dire<5tion  of  thofe  for  whom 
the  Picture   was  made  3  which  (by 
the  way)  is  not  feldom  the  occafion 
of  Real  Faults  in  Pictures,  and  which 
therefore  are  not  to  be  imputed  to 
the  Painter.     My  Lord  Somers  has  a 
Drawing  of  the  fame  Subject  attri- 
buted to  Innocentio  da  Imola,  which  I 
believe  was  done  after  fome  former 
Defign  of  (%afaelky  for  there  are  the 
fame  Figures,  placed  juft  in  the  fame 
manner,  only  the  Attitudes  are  confi- 
derably  vary'd  3  for  There  the  other 
Saints  have  regard  only  to  the  He- 
roine 


(  no    ) 

roine  of  the  Picture  :  This  helps  to 
explain  the  Other. 

Of  all  the  Painters  Rubens  has 
made  the  boldeft  life  of  This  kind  of 
Exprefllon  (by  Figures)  in  his  Pictures 
of  the  Luxembourg  Gallery  3  and  has 
been  much  Cenfured  for  it.  The 
truth  is,  'tis  a  little  choquing  to  fee 
fuch  a  Mixture  of  Antique,  and  Mo- 
dern Figures,  of  Christianity,  and 
Heathenifm  in  the  fame  Pictures  ^ 
but  this  is  much  owing  to  its  Novel- 
ty. He  was  willing  not  only 
to  relate  the  Adtions  done,  but  a 
great  deal  more  than  could  be  related 
any  other  way  3  and  for  the  fake  of 
that  Advantage,  and  the  Applaufe 
he  fhould  receive  for  it  from  thofe 
who  judg'd  of  the  thing  in  its  true 
Light,  he  had  the  Courage  to  hazard 
the  good  Opinion  of  Others.  He 
had  moreover  Another  very  good 
Reafon  for  what  he  did  on  this  Oc- 
cafion  :  The  Stories  he  had  to  paint 
were  Modern,  and  the  Habits,  and 

Ornaments 


(Ill) 

Ornaments  muft  be  fo  too,  which 
would  not  have  had  a  very  agreeable 
effe<5t  in  Painting  :  Thefe  Allegori- 
cal Additions  make  a  wonderful  Im- 
provement ;  they  vary,  enliven,  and 
enrich  the  Work  3  as  any  one  may 
perceive  that  will  imagine  the  Pi- 
ctures as  they  muft  have  been,  had 
(Rubens  been  terrified  by  the  Obje- 
ctions which  he  certainly  muft  have 
forefeen  would  be  made  afterwards, 
and  fo  had  left  all  thefe  Heathen  Gods, 
and  Goddeffes,  and  the  reft  of  the 
Fictitious  Figures  out  of  the  Com- 
pofition. 

I  will  add  but  one  way  of  Expreffion 
more,  and  that  is,  plain  Writing. 

<Polygnotus,  in  the  Paintings  made 
by  him  in  the  Temple  of  Delphos, 
wrote  the  Names  of  thofe  whom  he 
reprefented. 

The  old  Italian,  and  German  Ma- 
tters improv'd  upon  this  $  the  Fi- 
gures they  made  were  Speaking  Fi- 
gures, they   had  Labels  coming  out 

of 


(112) 

of  their  Mouths  with  that  written  ift 
them  which  they  were  intended  to 
be  made  to  fay  $  but  even  ^afaelki 
and  Annibale  Canned,  have  conde- 
fcended  to  Write  rather  than  leave 
any  Ambiguity,  or  Obfcurity  in 
their  Work  ;  Thus  the  Name  of 
SappU  is  written  to  fhew  'twas  She, 
and  not  one  of  the  Mufes  intended  in 
the  Tarnaffus  :  And  in  the  Gallery 
of  Farnefe,  that  Anchifes  might  not  be 
miftaken  for  Adonis,  Genus  wide  La- 
tinum  was  written. 

In  the  Carton  of  Elynnu  the  Sor- 
cerer, it  does-  not  appear  that  the 
Pro-Conful  was  converted,  other- 
wife  than  by  the  Writing  5  nor  do  I 
conceive  how  it  was  poflible  to  have 
exprefs'd  that  important  Circum- 
fiance  fo  properly  any  Other  way. 

In  the  Teji  of  the  fame  Mafter, 
grav'd  by  Marc  Antonio,  there  is  a 
Line  out  of  Virgil  which,  as 'tis  very 
proper  (the  Plague  being  that  de- 
icrib'd  by  that  Poet,  as  will  be  ken 

prefently) 


(  "O. 

prefently)  admirably  heightens  the 
Expreffion,  tho?  without  it  'tis  one 
of  the  moft  wonderful  Inftances  of 
This  part  of  the  Art  that  perhaps  is 
in  the  World  in  Black  and  White, 
and  the  utmoft  that  Humane  Wit 
can  contrive  3  there  is  not  the  moft 
minute  Circumftance  throughout  the 
whole  Defign  which  does  not  help 
to  Exprefs  the  Mifery  there  intended 
to  be  fliewn  :  But  the  Print  being 
not  hard  to  be  feen,  need  not  be 
defcrib'd. 

Writing  is  again  ufed  in  this  De- 
fign 3  In  one  part  of  it  you  fee  a 
Perfon  on  his  Bed,  and  two  Figures 
by  him  3  This  is  /Eneas,  who  (as 
Virgil  relates)  w7asadvifed  by  his  Fa- 
ther to  apply  hirnfelf  to  the  Phrygian 
Gods  to  know  what  he  fhould  do  to 
remove  the  Plague,  and  being  refol- 
ved  to  go,  the  Deities  appear'd  to 
him,  the  Moon  fhining  very  bright, 
(which  the  Print  repreients  5)  here 
Effigies  Sacra  DiVom  {fhrygU  is  writ- 
I  ten, 


("t)  . 

ten,  becaufe  otherwife  this  Incident 
would  not  probably  have  been 
thought  on,  but  the  Group  would 
have  been  taken  to  be  only  a  Sick 
Man,  and  his  Attendants. 

The  Works  of  this  Prodigy  of  a 
Man  ought  to  be  carefully   ftudied 
by  him  who  would  make  himfelf  a 
Mafter  in  Expreffion,  more  efpecially 
with  relation  to  thofe  Paflions,  and 
Sentiments  that  have  nothing  of  Sa- 
vage, and  Cruel  j  for  his  Angelick 
Mind  was  a  Stranger  to  Thefe,  as 
appears  by  his  Slaughter  of  the  Inno- 
cents, where  tho?  he  has  had  Recourfe 
to  the  Expedient  of  making  the  Sol- 
diers naked  to  give  the  more  Ter- 
ror, he  has  not  fucceeded  fo  well  even 
as  <Piet.ro  Teftay  who,  in  a  Drawing  I 
have  of  him  of  that  Story,  has  (hewn 
he  was   fitter  for  it  than   (fiafaelte : 
But  you  mull  not  expert  to  find  the 
true  Airs  of  the  Heads  of  that  great 
Mafter  in  Prints,  not  even  in  thofe 
of  Marc  Antonio  himfelf.     Thofe  are 

to 


(  "5) 

to  be  found  only  in  what  his  own 
inimitable  Hand  has  done,  of  which 
there  are  many  unqueftionably  right 
in  feveral  Collections  here  in  England  3 
particularly  in  thofe  very  Admirable 
and  Copious  ones  of  the  Duke  of 
DeVonfl?irey  and  the  Earl  of  Pembroke  5 
To  whom  I  take  leave  on  This,  as 
on  all  other  Occafions,  to  make  my 
Humble  Acknowledgments  for  the 
Favour  of  frequently  Seeing,  andCon- 
fidering  thofe  Noble,  and  Delicious 
Curiofities.  But  Hampton-Court  is  the 
great  School  of  <^afaelle  !  and  God 
be  praifed  that  we  have  fo  near  us 
fuch  an  invaluable  Bleffing.  May 
the  Cartons  continue  in  That  place, 
and  always  to  be  feen  5  Unhurt,  and 
Undecay'd,  fo  long  as  the  Nature  of 
the  Materials  of  which  they  arecorn- 
pos'd  will  po'llibly  allow,  May  even 
a  Miracle  be  wrought  in  their  Fa- 
vour, as  Themfelves  are  fome  of  the 
greateft  Inftancesof  the  Divine  Pow- 
er which  endued  a  Mortal  Man  with 
I  2  Abilities 


r  "<s) 

Abilities  to  perform  fuch  Stupend- 
ous Works  of  Art. 

BefidesHiin,  I  know  of  none  ofthe 
old  Mailers  that  are  Remarkable  for 
Expreffion,  unlefs  for  particular  Sub- 
jects 5  as  Michelangelo  for  Infernal, 
or  Terrible  Airs  3  Amongft  others 
I  have  the  Drawing  he  made  for  the 
Car  on  in  the  famous  Pi&ure  of  his 
Laft  Judgment,  which  is  admira- 
ble in  this  Kind  $  and  which  (by  the 
way)  Vafari,  who  was  well  ac- 
quainted with  him,  fays,  he  took 
from  thefe  three  Lines  of  Dante,  an 
very  fond  of: 

Caron  demonio  con  occhi  di  bragia 
Loro  accennando  tutte  le  raccoglie 
(Batte  col  remo  qualunque  jadagia. 

Julio  Romano  has  fine  Airs  for  Masks, 
a  SiknuSy  Satyrs,  and  the  like.  And 
for  fuch  Stories  as  that  of  the  Deai> 
the  300  Spartans ,  the  Deftru&ion  of 
the  Giants,  <&c.  1  have  feveral  Proofs 

of 


(  lr7  ) 

of  This.  Others  of  later  times  have 
fucceeded  well  in  This  part  of  the 
Art,  as  Domenichin,  and  Rembrandt  • 
but  Thefe  are  the  Principal;  Only 
for  Portraits,  and  herein,  next  to 
(fyfaelle,  perhaps,  no  Man  has  a  bet- 
ter Title  to  the  Preference  than  Van- 
Dyc^-j  no  not  Titian  himfelf,  much 
lefs  Rubens. 

But  there  is  no  better  School  than 
Nature  for  Exprejfion.  A  Fainter  there- 
fore flbould  on  all  Occajions  obferVe  how 
Men  Look)  and  A£i>  when  Picas' d,  GrieVd, 
Angry^  &c. 

0/COMPOSITIONT. 

TH  I  S  is  putting  together  for 
the  Advantage  of  the  Whole, 
what  fhall  be  judg'd  Proper  to  be 
the  feveral  Parts  of  a  Picture  5  either 
as  being  ElTential  to  it,  or  becaufe 
they  are  thought  neceflary  for  the 
common  Benefit  :  And  moreover, 
the  Determination  of  the  Painter  as  to 
I  3  certain 


certain  Attitudes,  and  Colours  which 
are  Otherwife  Indifferent. 

The  Compofition  of  a  Picture  is 
of  Vaft  Confequence  to  the  Good- 
nefs  of  it  $  Tis  what  firft  of  all  pre- 
fents  it  felf  to  the  Eye,  and  preju- 
dices us  in  Favour  Of,  or  with  an 
Averfion  To  it  $  'tis  This  that  di- 
rects us  to  the  Ideas  that  are  to  be 
convey  d  by  the  Painter,  and  in  what 
Order  3  and  the  Eye  is  Delighted 
with  the  Harmony  at  the  fame  time 
as  the  Underftanding  is  Improv'd. 
Whereas  This  being  111,  tho'  the  fe- 
veral  Parts  are  Fine,  the  Pifture  is 
Troublefome  to  look  upon,  and  like 
a  Book  in  which  are  many  Good 
Thoughts,  but  flung  in  confufedly, 
and  without  Method. 

Every  Titture  fliould  be fo  contrived,  as 
that  at  a  Diftance,  when  one  cannot  dif- 
cern  what  Figures  there  are,  or  what  they 
are  doing,  it  JJiould  appear  to  be  compofed 
of  Majfes,  Light,  and  Da)\  3  the  Latter 
of  which  jerVe  as  (Repofes  to  the  Eye. 

The 


The  Forms  of  Thefe  Maffes  muft 
be  Agreeable,  of  whatfoeVer  they  con- 
fift,  Ground.  Trees,  Draperies,  Figures, 
&c.  and  the  Whole  together  flwuld  be 
Sweet,  and  Delightful,  Lonely  Shapes  and 
Colours  without  a  Na?ne  5  of  which  there 
is  an  infinite  Variety* 

And  'tis  not  enough  that  there  be 
Great  Mafles  $  they  muft  be  Subdi- 
vided into  Letter  Parts,  or  they  will 
appear  Heavy,  and  Difagreeable  : 
Thus  tho'  there  is  evidently  a  Broad 
Light  (for  Example)  in  a  piece  o^ 
Silk  when  covering  a  whole  Figu^, 
or  a  Limb,  there  may  be  Lefler  Folds, 
Breakings,  Flickerings,  and  Refle- 
ctions, and  the  Great  Mafs  vet  evi- 
dently preferv'd. 

Sometimes  one  Mafs  of  Light  is 
upon  a  dark  Ground,  anJ  then  the 
Extremities  of  the  Light  muft  not 
be  too  near  the  edges  of  the  Picture, 
and  its  greateft  Strength  muft  be  to- 
wards the  Centre  ;  as  in  the  Defcent 
from  the  Crofs,  and  the  Dead  Chrift, 
I  4  both 


1 12°  ) 

both  of  <^ubensy  and  of  both  which 
there  are  Prints,  one  by  Voflerman, 
and  the  other  by  (pontiws. 

I  have  a  Painting  of  the  Holy  Fa- 
mily by  (Rubens  of  this  Structure  3 
where,  becaufe  the  Mafs  of  Light  in 
one  part  would  elfe  have  gone  off 
too  abruptly,  and  have  made  a  lefs 
pleafing  Figure,  he  has  fet  the  Foot 
of  S.  Elizabeth  on  a  little  Stool  5  here 
the  Light  catches,  and  fpreads  the 
Mafs  fo  as  to  have  the  defired  effect. 
Such  another  Artifice  Gfafaelle  has 
tfed  in  a  Madonna,  of  which  I  have 
a  ^opy  3  He  has  brought  in  a  kind 
of  a^  Ornament  to  a  Chair  for  no 
other  «nd  (that  I  can  imagine)  but 
to  form  the  Mafs  agreeably. 

Fan-Dyck^  that  he  might  keep  his 
principal  Light  near  the  middle  of 
his  Picture,  and  to  advantage  the 
Body  which  he  feems  to  have  in- 
tended to  exert  himfelf  in,  has  even 
kept  the  Head  Sombrous  in  an  Ecce 
homo  I  have  of  him,  which  makes 
the  Whole  have  a  fine  effect. 

I 


r  «2!  ; 

I  have  many  times  obferv'd  with 
a  great  deal  of  Pleafure  the  admira- 
ble Compofition  (befides  the  other 
Excellencies)  of  a  Fruit-piece  ofM- 
chelangelo  Compadoglio,  which  I  have 
had  many  Years.  The  principal 
Light  is  near  the  Centre  (not  Exact- 
ly there,  for  thofe  Regularities  have 
an  ill  effect  5)  and  the  Tranfition 
from  thence,  and  from  one  thing  to 
another,  to  the  Extremities  of  the 
Picture  all  round  is  very  Eafy,  and 
Delightful  3  in  which  he  has  employed 
fine  Artifices  by  Leaves,  Twigs,  lit- 
tle Touches  of  Lights  ftriking  ad- 
vantageoufly,  and  the  like.  So  that 
there  is  not  a  Stroke  in  the  Piiture 
without  its  Meaning5  and  the  whole, 
tho'  very  Bright,  and  confiding  of 
a  great  many  Parts,  has  a  wonder- 
ful Harmony,  and  Repofe. 

One  of  the  Drawings  that  Correggio 
made  for  the  Compofition  of  his  Fa- 
mous Picture  of  the  Nativity,  call'dLrf 
Notte  del  Correggio,  I  have,  and  'tis  ad- 
mi- 


(    122    ) 

mirable  in  its  kind  :  There  is  nothing 
one  could  wifli  were  otherwife  with 
refpedt  to  the  Compoiition,  but  that 
the  Full  Moon  which  he  has  made 
in  one  of  the  Corners  at  the  top  had 
been  omitted  $  It  gives  no  Light, 
That  all  comes  from  the  New-born 
Saviour  of  the  World,  and  fweetly 
diflfufes  it  felf  from  thence  as  from 
its  Centre  all  over  the  Pifture,  only 
that  Moon  a  little  troubles  the  Eye. 

TheCompofition  of  my  Holy  Fa- 
mily of  (ftafaelle  is  not  inferior  to  its 
other  parts,  and  the  Tranlition  from 
one  thing  to  another  is  very  Artful  3 
to  inftance  only  in  one  particular  : 
Behind  the  Madonna  is  S.  Jojeph  rett- 
ing his  Head  on  his  Hand,  which  is 
plac'd  upon  his  Mouth,  and  Chin  5 
this  Hand  fpreads  that  fubordinate 
Mais  of  Light,  and  together  with  the 
Coiffure  of  the  Virgin,  and  the  little 
Ring  of  Glory  round  her  Head  (which 
contribute  alio  to  the  fame  end)makes 
the  Tranfition  from  her  Face  to  that 

of 


c  123; 

of  S.  Jo/epb  very  grateful,  and  eafy. 
The  whole  Figure  of  S.  Jofeph  is  con- 
nected with  that  of  the  Madonna,  but 
Subordinately,  by  one  fmart  Touch 
of  the  Pencil  artfully   apply'd  upon 
his  Drapery   in   the  Holy  Family  I 
have   of  Qtybens  $  than  which  there 
cannot  be  a  more  perfect  Example 
for  Compofition,    both    as  to  the 
Mafles,  and  Colour  :  but  I  will  not 
multiply  Inftances. 

Sometimes  the  Stru&ure  of  a  Pi- 
cture, or    the    Tout-Enfemblc   of   its 
Form,  (hall  referable  dark  Clouds  on 
a  Light  Ground  5  As  in  two  Aflum- 
ptions  of  the  Virgin  by  fBoifwcrt  after 
(Rubens  $  indeed  a  part  of  Thefe  are 
fuch  Clouds  :    But  in  both  of  them 
the   Figures    of     thefe    Mafles    are 
fomething  too  Indiftindt.    Le  (Brun  in 
a  Ceiling  of  the  fame  Subject,  grav'd 
by  young  Simconneau,  has  put  a  Group 
of  Angels,    which  almofl   hide  the 
cloudy  Voiture   of  the   Virgin  5  but 
this  Mafs  is  of  too  Regular,  and  Hea- 
vy 


r  m ) 

vy  a  Shape.  I  refer  you  to  Prints, 
becaufe  they  are  eafy  to  be  got,  and 
explain  This  matter  as  well  as  Draw- 
ings, or  Pictures,  and  in  fome  Re- 
fpe&s  Better. 

There  are  Inftances  where  two 
Mafles  3  a  Light,  and  a  Dark  one, 
divide  the  Pi&ure,  each  poflefling 
One  Side.  I  have  of  This  fort  by 
(ftubens,  and  as  fine  a  Compofition  as 
can  be  feen  3  the  Mafles  are  fo  well 
Rounded,  the  Principal  Light  being 
near  the  Middle  of  the  Bright  One, 
and  the  Other  having  Subordinate 
Lights  upon  it  fo  as  to  Connect,  but 
not  to  Confound  it  with  the  reft  5 
and  they  are  in  agreeable  Shapes,  and 
melting  into  One  Another,  but  ne- 
verthelefs  fufficiently  determined. 

Very  commonly  a  Pidture  con- 
fifts  of  a  Mafs  of  Light,  and  ano- 
ther of  Shadow  upon  a  Ground  of  a 
Middle  Tind.  And  fometimes  'tis 
compofed  of  a  Mafs  of  Dark  at  the 
bottom,  another  Lighter  above  that, 

and 


1  (;i«5  ) 

and  another  for  the  upper  part  ftill 
Lighter  3  (as  ufually  inaLandfcape) 
Sometimes  the  Dark  Mafs  employs 
one  Side  of  the  Pidture  alfo.  I  have 
a  Copy  after  <Paolo  Veronefe  where  a 
large  Group  of  Figures,  the  principal 
ones  of  the  Story,  compofe  this  low- 
er brown  Mafs,-  Architecture,  the 
fecond3  more  Buildings,  with  Figures 
and  the  Sky,  the  third  5  but  mod 
commonly  in  Pictures  of  Three  Maf- 
fes,  the  Second  is  the  Place  of  the 
Principal  Figures. 

Of fuch  Confequence  are  Thefe  A- 
greeable  MalTes  in  a  Pi&ure,  that  for 
the  Sake  of  them  what  is  Lefs  Mate- 
rial muffc  be  Difpenc'd  with  when 
Both  cannot  be  had.  As  the  Principal 
Figure,  and  Action  muft  be  Diftin- 
guifh'd  (of  which  more  prefently) 
Thofe  Limbs  of  a  Figure  that  are 
Chiefly  employed  ought  to  be  made 
Confpicuous  5  Jordaens  of  Naples,  in 
a  Picture  1  have,  has  reprefented  the 
little  Jefus  as  riding  on  S.  Johns  Lamb, 

and 


(    »2<J    ) 

and  fupported  by  that  Young  Saint  5 
the  Legs  of  the  Lamb  being  his  Own 
Support,  and  that  of  his  Rider  fhould 
have  been  very  Obvious  5  but  if  they 
had,  the  Mafs  where  they  are  would 
have  been  too  much,  and  Difagree- 
ably  broken,  they  are  only  feen 
therefore,  and  the  MaiTes  are  Pre- 
ferv'd,  and  fo  Beautifully  as  to  be  a 
great  part  of  the  Merit  of  the  Picture. 
As  the  Tout-enfemble  of  a  picture 
vutjl  be  Beautiful  in  its  Majfes,  fo  mufl  it 
be  as  to  its  Colours.  And  <vs  what  is  Trin~ 
opal  mufl  be  [Generally  fyeaking)  the  mofi 
Conspicuous,  the  predominant  Colours  of 
That  flmdd  be  diffused  throughout  the 
Whole.  This  %afaelle  has  obferv'd 
remarkably  in  the  Carton  of  S.  Paul 
Preaching  5  His  Drapery  is  Red,  and 
Green,  and  Thefe  Colours  are  feat- 
ter'd  every  where  5  butjudicioufly  3  for 
Subordinate  Colours  as  well  as  Sub- 
ordinate Lights  ferve  to  Soften,  and 
Support  the  Principal  ones,  which  O- 
therwife  would  appear  as  Spots,  and- 
confequencly  be  Offenfive.  And 


(  &7  ) 

And  when  the  Subject  does  not 
Neceflarily  require  a  due  Variety  or 
Beauty  of  Tindts  ;  Or  perhaps  the 
Pidture  when  thought  to  be  finifli'd 
is  found  to  want  fomething  of  This 
kind,  a  few  Red,  or  Yellow  Leaves 
of  Trees,  Flowers,  of  whatever 
Colour,  in  fliort,  any  thing  Other- 
wife  Indifferent,  may  be  flung  in 
very  advantageoufly. 

In  a  Figure ,  and  e^ery  part  of  a  Fi- 
gure, and  indeed  in  every  thing  elfe  there 
is  One  part  which  mufk  have  a  peculiar 
Force,  and  be  manifejily  difiinguifl/d  from 
the  reft,  all  the  Other  parts  of  Which  rnufi 
aljo  have  a  due  Subordination  to  It%  and 
to  One  Another.  The  fame  fnufl  be  ob- 
jerVd  in  the  Compofition  of  an  entire  Pi- 
Eiure  $  And  this  (principal \  Diftinguiftfd 
part  ought  {Generally  peaking)  to  be  the 
(place  of  the  (principal  Figure ,  and  Attion : 
And  Here  every  thing  mujl  be  higher 
Fmijh'd,  the  Other  parts  mujl  be  Left  fo 
Gradually. 

Pi- 


(    128     ) 

Pictures  (hould  be  like  Bunches  of 
Grapes,  but  they  muft  not  refemble 
a  great  many  fingle  Grapes  fcatter'd 
on  a  Table  $  there  muft  not  be  ma- 
ny Little  Parts  of  an  Equal  Strength, 
and  detach' d  from  one  another, 
which  is  as  odious  to  the  Eye  as  'tis 
to  the  Ear  to  hear  many  People  talk- 
ing to  you  at  once.  Nothing  muft 
Start,  or  be  too  ftrong  for  the  Place 
where  it  is  as  in  a  Confort  of  Mu- 
jfick  when  a  Note  is  too  high,  or  an 
Inftrument  out  of  Tune  5  but  afweet 
Harmony  and  Repofe  muft  refult 
from  all  the  Parts  judicioufly  put  to- 
gether,  and  united  with  each  other. 

In  the  Defcent  from  the  Crofs  of 
Q^ube?isy  the  Chrift  is  the  Principal 
Figure,  This  Body  being  Naked  and 
about  the  Centre  of  the  Pi&ure  wou'd 
have  been  diftinguifh'd  as  the  Heigh- 
tening of  this  Mafs  of  Light3  but  not 
content  with  That,  and  to  raife  k 
ftill  more,  this  Judicious  Mafter  has 
added  a  Sheet  in  which  the  Body  is, 

and 


(  I2S>  ) 

and  which  is  fuppos'd  to  be  Ufeful 
to  deliver  it  down  fafely,  as  well  as 
to  carry  it  off  afterwards,  but  the 
main  defign  is  what  I  am  obferving, 
and  for  that  'tis  admirably  intro- 
duced. 

Ananias  is  the  Principal  Figure  in 
the  Carton  which  gives  the  Hiftory 
of  his  Death  3  as  the  Apoftle  that 
pronounces  his  Sentence  is  of  the 
Subordinate  Group,  which  confifts 
of  Apoftles.  (Which  therefore  is 
Subordinate,  becaufe  the  Principal 
Action  relates  to  the  Criminal,  and 
thither  the  Eye  is  directed  by  almoft 
all  the  Figures  in  the  Picture.)  S.  Taul 
is  the  chief  Figure  in  that  Carton 
where  he  is  Preaching,  and  amongft 
his  Auditors  One  is  eminently  diftin- 
guifh'd,  who  is  Principal  of  that 
Group  5  and  is  apparently  a  Believ- 
er, and  More  fo  than  any  of  them, 
or  he  had  not  had  that  Second 
Place  in  a  Picture  conduced  by  fo 
great  a  Judgment  as  that  o{<%afa?tle's. 
K  Thefc 


(  *3°  ) 

Thefe  Principal,  and  Subordinate 
Groupes,  and  Figures,  are  To  appa- 
rent, that  the  Eye  will  naturally  fix 
firft  upon  one,  then  upon  the  other, 
and  confider  each  in  Order,  and 
with  Delight.  I  might  give  other 
Examples  were  it  neceffary  5  where 
'tis  not  thus,  the  Compofition  is  lefs 
perfect. 

It  is  to  be  noted,  that  the  Sorce- 
rer in  the  Carton  of  his  Chaftife- 
ment  is  the  Principal  Figure  there, 
but  has  not  the  Force  in  all  its  Parts 
as  it  ought  to  have  as  fuch,  and  to 
maintain  the  Harmony  $  This  is  Ac- 
cidental, for  'tis  certain  his  Drapery 
was  of  the  fame  Strength,  and  Beau- 
ty, as  that  on  his  Head,  however  it 
has  happen  d  to  have  changed  its 
Colour. 

The  Shadows  in  the  Drapery  of 
S.  Taul  alfo,  in  that  Carton  where 
the  People  are  about  to  Sacrifice  to 
him,  and  Barnabas,  have  loft  fome- 
thing  of  their  Force. 

Some- 


Sometimes  the  <Place  in  the  (PiElure, 
ami  not  the  Force,  gives  the  Dijiinclion  5 
as  in  my  Drawing  of  the  Defcent  of 
the  Holy  Ghoft  :  The  Principal  Fi- 
gure is  the  Symbol  of  that  Divine 
Perfon  in  the  Sacred  Trinity,  who 
is  the  great  Agent,  and  is  diftin- 
guifli'd  both  by  the  Place  'tis  in,  and 
the  Glory  which  furrounds  it  :  The 
Principal  of  the  next  Group  is  the 
Bleffed  Virgin  who  is  plac'd  dire&ly 
under  the  Dove,  and  in  the  Middle 
of  the  Picture;  but  fome  of  the  A- 
poftles  who  appear  not  to  be  the 
Chief,  have  a  greater  Force  than  She, 
or  any  of  thofe  that,  compofe  that 
Group  j  however  the  Place  flie  pof- 
fefles  preferves  that  Diftindtion 
that  the  incomparable  Artift  intend- 
ed to  give  her. 

And  fome times  the  (painter  happens  to 

be   Obliged  to  put  a  Figure  in  a  (place, 

and  with  a  Degree  of  Force  which  does  not 

fufficiently  diftinguijh  it.   In  that  Cafe,  the 

Attention  muft  be  awakened  by  the  Colour 

K  2  of 


(  x32  ) 

of  its  Drapery ,  <fr  a  Tart  of  it,  or  by  the 
Ground  on  which  'tis  painted,  or 
fome  other  Artifice. 

Scarlet,  or  fomeVivid  Colour,  is  ve- 
ry proper  on  fuch  Occafions :  I  think 
1  have  met  with  an  Inftance  of  This 
kind  from  Titian^  in  a  'Bacchus  and 
Ariadne-,  Her  Figure  is  Thus  diftin- 
guifli'd  for  the  reafon  I  have  given. 
And  in  a  Picture  of  Albano,  which  Sir 
James  Thornhill  has,  Our  Lord  is  feen 
at  a  Diftance  as  coming  towards 
fome  of  his  Difciples,  and  tho'  a 
fmall  Figure  isneverthelefs  the  rnoft 
Apparent  in  the  Picture  by  being 
plac'd  on  a  Rifing  Ground,  and 
painted  upon  the  Bright  part  of  the 
Skyjuft  above  the  Horizon. 

In  a  Compofition,  as  well  as  in  every 
Single  Figure j  or  other  part  of  which  the 
<Pi£lure  confijls,  one  thing  mujl  Contraft, 
or  be  Varied  from  another.  Thus  in 
a  Figure,  the  Arms  and  Legs  mud 
not  be  placed  to  anfwer  one  another 
in  Parallel  Lines.     In  like   manner 

if 


(  r33  ) 

if  one   Figure  in    a    Compofition 
Stands,  another  muft  Bend,  or  Lye 
on  the  Ground  5  and  of  thofe  that 
Stand,  or  are  in  any  other  Pofition, 
if  there  be   feveral  of  them,    they 
muft  be  varied   by  Turns    of  the 
Head,  or  fome  other  Artful  Difpo- 
fition  of  their  Parts-;  as  may  be  feen 
(for  inftance)  in  the  Carton  of  giving 
the   Keys.     The  Mattes   muft  alfo 
have  the  like  Contraft,  two  muft  not 
be  alike  in  Form,  or  Size,  nor  the 
whole  Mafs  composed  of  thofe  leffer 
ones  of  too  Regular  a  Shape.     The 
Colours  muft  be  alfo  Contrafted, and 
Oppos'd,  fo  as  to  be  grateful  to  the 
Eye  :  There  muft  not  (for  exam- 
ple) be  two  Draperies  in  one  Pi&ure 
of  the  fame  Colour,  and  Strength, 
unlefs  they  are  contiguous,  and  then 
they  are  but  as  one.     If  there  be 
two   Reds,  Blews,  or    whatever  o- 
ther    Colour,  One  muft  be   of    a 
Darker,  or  Paler  Tinft,  or  be  fome 
way  Varied  by  Lights,  Shadows,  or 

K  3  Re- 


(  r34  ) 

Reflexions.  <%afaelle,  and  others 
have  made  great  Advantage  of 
Changeable  Silks  to  unite  the  Con- 
trading  Colours,  as  well  as  to  make 
a  part  of  the  Contraft  themfelves. 
As  in  the  Carton  of  Giving  the 
Keys,  the  Apoftle  that  ftands  in 
Profile,  and  immediately  behind 
S.  John,  has  a  Yellow  Garment  with 
Red  Sleeves,  which  conne&s  that 
Figure  with  S.  (peter,  and  S.  John, 
whofe  Draperies  are  of  the  fame  Spe- 
cies of  Colours.  Then  the  fame  A- 
nonymous  Apoftle  has  a  loofe 
changeable  Drapery,  the  Lights  of 
which  are  a  Mixture  of  Red,  and 
Yellow,  the  other  Parts  are  Bluifli. 
This  Unites  it  felf  with  the  Other 
Colours  already  mentioned,  and 
with  the  Blew  Drapery  of  another 
Apoftle  which  follows  afterwards  5 
between  which,  and  the  changea- 
able  Silk  is  a  Yellow  Drapery  fome- 
thing  different  from  the  other  Yel- 
lows, but    with     Shadows    bearing 

upon 


C'35) 

upon  the  Purple,  as  thofe  of  the 
Yellow  Drapery  of  S.  Peter  incline 
to  the  Red:  All  which,  together 
with  feveral  other  Particulars,  pro- 
duce a  wonderful  Harmony. 

The  Exotick  Birds  that  are  pla- 
ced on  the  Shore,  in  the  Fore-ground 
in  the  Carton  of  the  Draught  of 
Fifties,  prevent  the  Heavinefs  which 
that  part  would  otherwife  have  had 
by  breaking  the  Parallel  Lines  which 
would  have  been  made  by  the  Boats, 
and  Bafe  of  the  Pidture. 

The  Back-Ground  of  the  Pi&ure 
of  the  Death  Bed  of  Germariicus  by 
<Pouffiny  is  Architecture  $  but  the  ma- 
ny Perpendicular  Lines  over  the 
Heads  of  the  Figures  throughout, 
would  have  had  an  111  Effed: :  He 
has  therefore  fpread  a  fort  of  Curtain 
or  Canopy,  over  the  Principal  of 
them  (which  alfo  helps  to  diftinguifh 
them)  this  remedies  that  Inconve- 
nience 5  The  reft  of  the  Back- 
Ground  is  contrajied  by  Standards, 
Arms,  &c.  K  4  Tho' 


(■  Itf ) 

Tho  a  Mafs  may  confift  of  a 
Number  of  Little  Parts,  there  ought 
to  be  one,  or  more,  Larger,  and  as 
it  were  governing  the  reft,  and  this 
is  another  fort  of  Contraft.  My  Lord 
//'tr  .-.  -igon  has  a  Good  Samaritan  by 
fBaJJau,  which  is  a  fine  Inftance  of 
This.  In  the  fame  Picture,  there 
are  two  knees  of  two  feveral  Figures, 
pretty  near  together,  and  the  Legs 
and  Thighs  of  which  make  Angles 
too  much  alike,  but  this  is  con- 
tracted by  one  being  Naked,  and  the 
other  Clad,  and  over  the  latter,  a 
little  fort  of  Safh  falls,  which  is  an 
additional  Expedient. 

There  is  an  Admirable  Contraft 
in  the  Carton  of  S.  <Paul  preaching, 
His  Figure  (which  is  a  rare  one) 
ftands  aione  as  he  ought  to  do,  and 
confequently  is  very  confpicuous, 
which  is  alfo  perfectly  right  3  the 
Attitude  is  as  fine  as  can  be  i<* 
magin'd  5  but  the  Beauty  of  this 
noble   Figure,  and  with  it   of  the 

whole 


( j37 ; 

whole  Picture  depends  upon  this 
Artful  Contraft  I  have  been  fpeaking 
of  3  of  fo  great  Confequence  is  that 
little  part  of  the  Drapery  flung  over 
the  Apoftles  Shoulder,  and  hanging 
down  almoft  to  his  Wafte  $  for  (be- 
fidesthat  it  poizes  the  Figure,  which 
otherwife  would  have  feem'd  to  have 
tumbled  forwards)  had  it  gone  low- 
er, fo  as  to  have  as  it  were  divided 
the  Out-Line  of  the  hinder  part  of 
the  Figure  in  two  Equal,  or  Near 
Equal  parts  it  had  been  Offenfive  $ 
as  it  had  been  lefs  Pleafing  if  it  had 
not  come  fo  low  as  it  does.  This 
important  piece  of  Drapery  preferves 
the  Mafs  of  Light  upon  that  Figure, 
but  varies  it,  and  gives  it  an  agree- 
able Form,  whereas  without  it  the 
whole  Figure  would  have  been  Hea- 
vy, and  Difagreeable  5  but  there 
was  no  danger  of  that  in  (fiafaelle. 
There  is  another  piece  of  Drapery  in 
the  Carton  of  Giving  the  Keys, 
which  is  very  Judicioufly  flung  in  $ 

The 


(  «3»  ) 

The   three    outmoft  Figures  at  the 
End  of  the  Pi&ure,  (the  contrary  to 
that  where  our  Lord  is)  made  a  Mafs 
of  Light  of  a  Shape  not  very  plea- 
fing,  till     that     knowing     Painter 
ftruck  in  a  part  of  the  Garment  of 
the    laft  Apoftle  in   the  Group    as 
folded  under  his  Arm,  this  breaks 
the  ftreight  Line,  and  gives  a  more 
grateful  Form  to  the  whole  Mafs  i 
which  is  alfo  aflifted    by   the   Boat 
there  3  as  the  Principal  Figure  in  this 
Compofition     is   by  the   Flock    of 
Sheep  plac'd  behind  him,  and  which 
moreover    ferves  to   detach  the  Fi- 
gure from  its  Ground,  as  well  as  to 
illuftrate  the  Hiftory. 

The  Naked  Boys  in  the  Carton  of 
Healing  the  Cripple  are  a  farther 
Proof  of  (Jfyfaelle's  great  Judgment 
in  Compofition  :  One  of  'em  is  in 
fuch  an  Attitude  as  finely  varies  the 
Turns  of  the  Figures  3  but  Here  is 
moreover  another  kind  of  Contra/}, 
and  that  is  caus'd  by  their  being  Na- 
ked, 


( lw) 

ked,  which  how  odd  foever  it  may 
feem  at  firft,  and  without  confider- 
ing  the  Reafon  of  it,  will  be  found 
to  have  a  marvellous  effedt ;  Cloath 
?em  in  Imagination  3  Drefs  'em  as 
you  will,  the  Picture  fuffers  by  it, 
and  would  have  Suffered  if  %aja'ilk 
himfelf  had  done  it. 

"Tis  for  the  fake  of  this  Contraft, 
which  is  of  fo  great  Conference  in 
Painting,  that  this  Knowing  Man  in 
the  Carton  we  are  now  upon  has 
plac'd  his  Figures  at  one  end  of  the 
Temple  near  the  Corner,  where  one 
would  not  fuppofe  the  Beautiful  Gate 
was  :  But  this  varies  the  Sides  of  the 
Picture,  and  at  the  fame  time  gives 
him  an  Opportunity  to  enlarge  his 
Buildings  with  a  fine  Portico,  the  like 
of  which  you  muft  imagine  muft:  be 
on  the  other  Side  of  the  main  Stru- 
cture 5  All  which  together  makes 
one  of  the  Nobleft  Pieces  of  Archi- 
tecture that  can  be  conceived. 


He 


He  has  taken  a  greater  Licence  in 
the  Carton  of  the  Conversion  of 
Sergius  Taulus,  where  the  Archite- 
cture will  be  difficult  to  account  for, 
otherwife  than  by  faying  it  was  done 
to  give  the  Contraft  we  are  fpeaking 
of:  But  this  will  juftify  it  fufficiently. 

Nor  is  this  Contraft  only  neceflary 
in  every  particular  Picture,  but  if  fe- 
veral  are  made  to  hang  in  one  Room 
they  ought  to  Contraft  one  another. 
This  Titian  confider'd  when  he  was 
making  feveral  Pictures  for  our  King 
Henry  VIII.  as  appears  by  a  Letter 
he  wrote  to  that  Prince,  which  (a- 
mongft  others  of  Titian  to  the  Em- 
peror and  other  Great  Men)  is  to  be 
found  in  a  Collection  of  Letters 
printed  at  Venice,  An.  1574.  p.  403. 

mmmm  Et  pcrche  la  Danae  ctiio  mayidai 
gia  a  noftra  maefta,  ft  uedeua  tutta  dalla 
parte  dinan^i,  ho  noluto  in  quefta  altra 
(poefta  uariare,  &  farle  moftrare  la  con" 
tr atria  parte,  acciocbe  riefcba  in  earner ino 
done  hanno  da  ft  are  pin  gratiofo  alia  uij- 

ta. 


(  Hi  ) 

ta.  Tofto  le  mandero^  la  Toeji  di  Terfeo, 
O*  Andromeda  che  haura  un  altra  uifta 
differente  da  quefte,  e>  cofi  Medea,  O* 
J  of  one— — 

There  is  another  fort  of  Contrajl 
which  I  have  often  wonder'd  Pain- 
ters have  not  more  confider'd  than 
we  generally  find,  and  that  is,  Ma- 
king fome  Fat,  and  fome  Lean  Peo- 
ple 5  Such  a  Face  and  Air  as  Mr. 
Locke's,  or  Sir  ifaac  Newton  s  would 
fhine  in  the  beft  Compofition  that 
ever  (fyifaelle  made,  as  to  Exprefs  their 
Characters  would  be  a  Task  worthy 
of  that  Divine  Hand.  In  the  Car- 
tons there  is  one  or  two  Figures 
fomething  Corpulent,  but  I  think 
not  one  remarkably  Lean  -,  I  have  a 
Drawing  which  is  afcrib'd  to  <Baccio 
(Bandinelli  where  this  Contrail  is,  and 
has  a  fine  effeft. 

The  Mafters  to  be  ftudied  for 
Compofition  are  %ajaelle,  (Rubens, 
and  Rembrandt  moft  efpecially,  tho* 
many  others  are  worthy  notice,  and 

to 


(  H2  ), 

to  be  carefully  confiderd  3  amongft 
which  V.  Velde  ought  not  to  be  for- 
gottten,  who  tho'  his  Subjects  were 
Ships,  which  confiding  of  fo  many 
little  parts,  are  very  difficult  to  fling 
into  great  MaiTes,  has  done  it,  by  the 
help  of  fpread  Sails,  Smoak,  and  the 
Bodies  of  the  Veffels,  and  a  judicious 
Management  of  Lights  and  Shadows. 
So  that  His  Compofitions  are  many 
times  as  good  as  thofe  of  any  Ma- 
iler. 

The  more  to  be  convinc'd  of 
the  Advantage  of  Composition,  as 
well  as  the  Better  to  Comprehend 
what  I  have  been  laying,  it  may  not 
be  amifs  to  Compare  lome  of  thofe 
things,  I  have  inftanced  in  as  Good, 
with  Others  that  are  Not  fo ;  fuch 
as  the  famous  Defcent  of  the  Crofs 
by  Vaniele  da  Volterra,  where  all  is 
Confufion,  the  Crucifixion  of  our 
Lord  between  the  two  Thieves  by 
(fyibenSj  Grav'd  by  BolJwarty  where 
tho'  they  are  Diftin£t>  they  are   of 

Difa- 


(  H3  ) 

Difagreeable    Forms,    and  Uncon- 
ne&ed. 

Design  or  Drawing. 

BY  thefe  Terms  is  fometimes  un- 
derftood    the  exprefling    our 
Thoughts  upon  Paper,  or  whatever 
other  flat  Superficies  3    and  that   by 
Refemblances  formed  by  a  Pen,Cray- 
on,  Chalk,  or  the  like.     But  more 
commonly,    The  giving   the  Juft 
Form,    and  Dimenfion    of  Vifible 
Objects,  according  as  they  appear  to 
the  Eye  3  if  they  are  pretended  to  be 
defcrib'd  in  their  Natural  Dimen- 
fions  3  If  Not,  but  Bigger,  or  LefTer, 
then  Drawing,  or  Deligning  fignifies 
only  the  giving  thofe  Things  their 
true  Form,    which  implies  an  exadt 
proportionable  Magnifying,  or  Di- 
minifliing  in  every  part  alike 

And  this  comprehends  alio  giving 
the  true  Shapes,  Places,  and  even 
Degrees  of  Lights,    Shadows,  and 

Re- 


(  H4  ) 

Reflexions  3  becaufe  if  thefe  are  not 
right,  if  the  thing  has  not  its  due 
Force,  or  Relief,  the  true  Form  of 
what  is  pretended  to  be  drawn  can- 
not be  given  :  Thefe  fhew  the  Out- 
Line  all  round,  and  in  every  part, 
as  well  as  where  the  Gbjedt  is  ter- 
minated on  its  Back- Ground. 

In  a  Compofition  of  feveral  Fi- 
gures, or  whatever  other  Bodies,  if 
the  Perfpe&ive  is  not  juft  the  Draw- 
ing of  that  Compofition  is  Falfe. 
This  therefore  is  alio  imply'd  by  this 
Term.  That  the  Perfpe&ive  muft 
be  obferv'd  in  the  Drawing  of  a  Sin- 
gle Figure  cannot  be  doubted. 

I  know  Drawing  is  not  commonly 
underftood  to  comprehend  the  Clair* 
obfcurey  (Relief y  and  TerfpecliVe,  but  it 
does  not  follow  however  that  what 
I  advance  is  not  right. 

But  if  the  Out-Lines  are  only 
mark'd,  this  alio  is  Drawing  3  'tis 
giving  the  true  Form  of  what  is  pre- 
tended to,  that  is,  the  Out-Line* 

Force, 


The  Drawing  in  the  latter,  and  mofi 
common  Senfe  $  be  fides  that  it  mufi  be 
Jufij  mufi  be  pronounced  Boldly ,  Clearly , 
and  without  Ambiguity :  Confequently, 
neither  the  Out-Lines,  nor  the  Forms 
of  the  Lights,  and  Shadows  muft  be 
Confusd,  and  Uncertain,  or  Woolly 
(as  Painters  call  it)  upon  pretence 
ofSoftnefsj  nor  on  the  other  hand 
may  they  be  Sharp,  Hard,  or  Dry  5 
for  either  of  thefe  are  Extreamsj  Na- 
ture lies  between  them. 

As  there  are  not  two  Men  in  the 
World  who  at  this  inftant,  or  at  any 
other  time,  have  exactly  the  fame 
Set  of  Ideas  5  nor  any  one  Man  that 
has  the  fame  Set  twice,  or  This 
Moment,  as  he  had  the  laft :  For 
Thoughts  obtrude  themfelves,  and 
pafs  along  in  the  Mind  continually 
as  the  Rivers 

Stream,  and  perpetual  draw  their  humid 

Train  5     Milt. 
So  neither  are  there  two  Men,  nor 
two  Faces,  no,  not  two  Eyes,  Fore- 
L  heads 


hcadsj  Nofes,  or  any  other  Features: 
Nay  farther,  there  is  not  two  Leaves, 
tho  of  the  iame  Species,  perfectly 
alike. 

A  Defigner  therefore  muft  confider, 
when  he  draws  after  Nature,  that  his 
'Bufmcjs  is  to  defer  ibe  That  Very  Form,  as 
difiinguijlid  from  every  other  Form  hi  the 
UmVerje. 

In  order  to  give  this  Juft  Repre- 
fentation  of  Nature  (for  that  is  All 
we  are  now  upon,  as  being  all  that 
Drawing,  in  the  prefent  Senfe,  and 
Simply  confider'd  implies,  Grace  and 
Greatnefs,  is  to  be  fpoken  to  after- 
wards) I  fay  in  order  to  follow  Na- 
ture exactly,  a  Man  muft  be  well 
acquainted  with  Nature,  and  have  a 
reafonable  Knowledge  of  Geometry, 
Proportion,  (which  muft  be  varied 
according  to  the  Sex,  Age,  and  Qua- 
lity of  the  Perlon)  Anatomy,  0 ]fl eology, 
and  TerfpeSlhe.  1  will  add  to  thefe 
an  Acquaintance  with  the  Works  of 
the   belt    Painters,    and   Sculptors, 

Anci- 


(  147) 

Ancient,  and  Modern  :  For  'tis  a 
certain  Maxim,  No  Man  fees  what 
things  Are,  that  knows  not  what  they 
Ought  to  he. 

That  this  Maxim  is  true,  will  ap- 
pear by  an  Academy  Figure  drawn 
by  one  ignorant  in  the  Structure,  and 
knitting  of  the  Bones,  and  Anatomy, 
compar'd  with  another  who  under- 
(lands  thefe  throughly  :  Or  by  com- 
paring a  Portrait  of  the  fame  Perfon 
drawn  by  one  unacquainted  with  the 
Works  of  the  bed  Mafters,  and  ano- 
ther of  the  Hand  of  one  to  whom 
thofe  excellent  Works  are  no  Stran- 
gers ;  Both  fee  the  fame  Life,  but 
with  different  Eyes  5  The  former  fees 
it  as  one  unskill'd  in  Mufick  hears  a 
Confort,  or  Inftrument,  the  other  as 
a  Mafter  in  that  Science  :  Thefe  Hear 
equally,  but  not  with  like  Diftindion 
of  Sounds,  and  Obfervation  of  the 
Skill  of  the  Compofer. 

Perhaps  Albert  Durer  Drew  as  Cor- 
rectly, according  to  the  Idea  he  had 
L  2  of 


(  148  ) 

of  thing*  as  %afaelle,  and  the  German 
Eve  faw    (in   One  Senfe)  as  well  as 
the  Italian  3    but    thefe  two   Mafters 
Conceiv'd    differently,   Nature  had 
not   the  Same  appearance  to  both, 
and  that  becaufe  One  of  them  had 
not  his  Eyes  opened  to  fee  the  Beau- 
ties that  are  Really  there  $  the  Per- 
ception of  which  lets  us  into  Another 
World,  more  Beautiful  than  is  (ccn 
by  Untaught  Eyes :  And  which  is  ftill 
improveable  by  a  Mind  ftored  with 
Great  and  Lovely  Ideas,  and  capa- 
ble of  Imagining  fomething  beyond 
what  is  feen.  Such  a  One  every  De- 
fianer  ought  to  have.   But  This  is  to 
be  fpoken  to  when  I  treat  of  Grace 
and  Greatnels. 

Michelangelo  was  the  moft  Learn- 
ed, and  Correct  Defigner  of  all  the 
Moderns,  if  ^afaeUe  were  not  his  E- 
qual,  or  as  fome  will  have  it,  Su- 
perior. The  Romany  and  Florentine 
Schools  have  excell'd  all  others  in 
this  Fundamental  part  of  Painting} 
and  of  the  firft  ^afa^lky  Giulio  tityma- 

710 


(  H9  ) 

no,  Tolydorey  Tierino  del  Vaga,  &c. 
as  Michelangelo ,  Leonardo  da  Vinci, 
Andrea  del  Sarto,  &c.  have  been  the 
beft  of  the  Florentines  Of  the  So- 
lognefe,  Annibale  Carracci^  and  Domin- 
chino  have  been  excellent  Defigners. 
When  a  Painter  intends  to  make  a 
Hiftory  (for  example)  the  way  com- 
monly is  to  defign  the  thing  in  his 
Mind,  to  coniider  what  Figures  to 
bring  in, and  what  they  are  co  Think, 
Say,  or  Do  5  and  then  to  Sketch  up- 
on Paper  this  Idea  of  his  5  and  not 
only  the  Invention,  but  Compojttion  of 
his  intended  Pifture  :  This  he  may 
alter  upon  the  fame  Paper,  or  by 
making  other  Sketches,  till  he  is 
pretty  well  determind  as  to  that  5 
(and  this  is  that  firft  Senfe  in  which 
I  faid  the  Term  Drawing  or  Vejgn- 
ing  was  to  be  underilood.)  In  the 
next  place  his  Bufinefs  is  to  confuk 
the  Life,  and  to  make  Drawings  of 
particular  Figures,  or  parts  of  Fi_ 
gures,  or  of  what  elfe  he  intends  tQ 

L  3  brina 


(  ISO  ) 

bring  into  his  Work,  as  he  finds  ne- 
ceffary  $  together  alio  with  fuch  Or- 
naments, or  other  things  of  his  In- 
vention, as  Vafes,  Frizes,  Trophies, 
<trc.  till  he  has  brought  his  Picture 
to  fome  Perfection  on  Paper,  either 
in  thefe  loofe  Studies,  or  in  one  en- 
tire Drawing.  This  is  frequently 
done,  and  fometimes  thefe  Drawings 
are  finifh'd  very  highly  by  the  Maf- 
ter,  either  that  his  Dilciples  might 
be  able  from  them  to  make  a  great- 
er  Progrefs  in  the  Grand  Work,  and 
fo  leave  the  lefs  for  Himfeif  to  do  3 
or  becaufe  he  made  Advantage  of 
fuch  Drawings  from  the  Perfon  who 
employ'd  him,  or  lome  other  3  and 
perhaps  fometimes  for  his  own  Plea- 
fure. 

Of  thefe  Drawings  of  all  kinds, 
thole  great  Mafters  (whofe  Names, 
and  Memories  are  fweet  to  all  true 
Lovers  of  the  Art)  made  very  ma- 
ny 3  fometimes  feveral  for  the  fame 
thing,  and  not  only  for  the  fame  Pi- 
cture, 


r  151 ) 

dure,  but   for  one  Figure,  or  pare 
of  a  Pi£ture5  and  though  too  many 
are  perifli'd,  and  loft,  a  confidera- 
ble  Number  have  efcap'd,  and  been 
preferved  to  our  Times,  fomc  very 
well,  others  not,  as  it  has  happen'd  ; 
And  thefe  are  exceedingly  priz'd  by 
all  who  understand,  and  can  fee  their 
Beauty  5  for  they  are  the  very  Spi- 
rit, and  Quinteflence   of  the  Art  5 
there  we  fee  the  Steps  the   Mafter 
took,    the  Materials  with  which  he 
made  his  Finifh'd  Paintings,  which 
are  little  other  than  Copies  of  thefe, 
and  frequently  (at  leaft  in  part)  by 
fome  Other  Hand  $    but  thefe  are 
undoubtedly     altogether  his    Own, 
and  true,  and  proper  Originals. 

It  muft  be  confefs'd,  in  the  Paint- 
ings you  have  the  Colours,  and  the 
laft  Determination  of  the  Mafter, 
with  the  entire  Completion  of  the 
Work.  The  Thoughts,  and  Finifh- 
ings  are  in  a  great  Meafure  feen  in 
the  Prints  of  fuch  Works  of  which 

L  4  Prints 


r  150 

Prints  are  made,  nor  is  a  Drawing 
deftitute  of  Colouring  abfolutely  3  on 
the  contrary,  one  frequently  fees 
beautiful  Tints  in  the  Paper,  Wafhes, 
Ink,  and  Chalks  of  Drawings  3  But 
what  is  wanting  in  lome  relpe&s  is 
abundantly  recompenc'd  in  Others, 
for  in  Thefe  Works  the  Matters  not 
being  embarrafs'd  with  Colours  have 
had  a  full  Scope,  and  perfect  Liber- 
ty, which  is  a  very  confiderable  Ad. 
vantage,  elpecially  to  fome  of  them. 
There  is  a  Spirit,  and  Fire,  a  Free- 
dom, and  Delicacy  in  the  Drawings 
of  Giulio  (Romano,  Tolydoro,  Tar* 
meggianOj  Batttjla  Franco,  &c.  which 
are  not  to  be  leen  in  their  Paintings  : 
A  Pen,  or  Chalk  will  perform  what 
cannot  poflibly  be  done  with  a  Pen- 
cil 3  and  a  Pencil  with  a  thin  Liquid 
only  what  cannot  be  done  when  one 
has  a  Variety  of  Colours  to  manage, 
elpecially  in  Oil. 

And  there   is  this  farther  Consi- 
deration  to  endear  thofe  Drawings 

wc 


we  have  to  us  5  no  mere  can  be  had 
than  what  are  now  in  Beings  no  new 
ones  can  be  made  5  the  Number  of 
thefe   muft  neceflarily  diminifii  by 
Time,  and  Accidents,  but  cannot  be 
fupply'd  3  the  World  muft  be  con- 
tent with  what  it  has :  For  though 
there  are  Ingenious  Men  endeavour- 
ing to  tread  in  the   Steps  of  thefe 
Prodigies  of  Art,  whofe  Works  we 
are  lpeaking  of,  there  is  yet  no  Ap- 
pearance that  any  will  Equal  them  5 
though  I  am  in  hopes  that  our  own 
Country  Does,  or  Will  produce  thofe 
that  will  come  as  near  ?em  as  any  o- 
ther  Nation,  1  mean  as  to  Hiftory- 
Painting,    for  that  we  already  excel 
all  others    in  Portraits   is    indifpu- 
table. 

The  vaft  Pleafure  I  take  in  thefe 
great  Curiofities  has  carried  me  per- 
haps too  far  :  I  will  only  add,  That 
the  firft  Sketches  not  being  intend- 
ed to  exprefs  more  than  the  general 
Ideas  ;  any  Incorre&nefs  in  the  Fi- 
gures, 


r  154 ) 

gures,  or  Perfpe&ive,  or  the  like,  are 
not  to  be  efleemd  as  Faults  5  Exadt- 
nefs  was  not  in  the  Idea  5  the  Sketch, 
notwithftanding  fuch  feeming Faults, 
may  fliew  a  Noble  Thought,  and  be 
executed  with  a  vaft  Spirit,  which 
was  all  pretended  to,  and  which  be- 
ing performed,  it  may  be  faid  to  be 
well  Drawn,  although  Incorrect  as 
to  the  other  Matters.  But  when  Cor- 
rection is  pretended  to,  (and  this  is 
always  the  Cafe  of  a  Finifhd  Draw- 
ing, or  Picture)  then  to  have  any  De- 
feat in  Drawing,  in  thisSenfe  of  the 
Term,  is  a  Fault. 

Colouring. 

COLOURS  are  to  the  Eye 
what  Sounds  are  to  the  Ear, 
Taites  to  the  Palate,or  any  other  Ob- 
jects ofour  Senfes  are  to  thofe  Senies  -y 
and  accordingly  an  Eye  that  is  deli- 
cate takes  in  proportionable  Pleafure 
from  Beautiful  ones,  and  is  as  much 

Offended 


( *tt ) 

Offended  with  their  Contraries.  Good 
Colouring  therefore  in  a  Pi&ure  is  of 
Confequence,  not  only  as  it  is  a  truer 
Reprefentation  of  Nature,  where  e- 
very  thing  is  Beautiful  in  its  Kind, 
but  as  adminiftring  a  confiderable 
Degree  of  Pleafure  to  the  Senfe. 

The  Colouring  of  a  Tifture  muft  be  Va- 
ried according  to  the  Subject,  the  Time, 
and  Place. 

If  the  Subject  be  Grave,  Melan- 
choly, or  Terrible,  the  General  Tindt 
of  the  Colouring  muft  incline  to 
Brown,  Black,  or  Red,  and  Gloomy  5 
but  be  Gay,  and  Pleafant  in  Subjects 
of  Joy  and  Triumph.  This  I  will 
not  enlarge  upon  here,  having  fpo- 
ken  to  it  already  in  the  Chapter  of 
Exprejfion.  Morning,  Noon,  Even- 
ing, Night5  Sunfhine,  Wet,  or  Clou- 
dy Weather,  influences  the  Colours 
of  things  3  and  if  the  Scene  of  the 
Picture  be  a  Room,  open  Air,  the 
partly  open,  and  partly  inclos'd,  or 
Colouring  muft  be  according. 

The 


(  '5^  ) 

The  Distance  alfo  alters  the  Co- 
louring becaufe  of  the  Medium  of 
Air  through  which  every  thing  is 
feen,  which  being  Blue,  the  more  re- 
mote any  Objed  is  the  more  it  mud 
partake  of  that  Colour,  confequent- 
ly  muffc  have  lefs  Force,  or  Strength  $ 
the  Ground  therefore,  or  whatfoever 
is  behind  a  Figure  (for  example)  mud 
not  be  lo  ftrong  as  that  Figure  is, 
nor  any  of  its  Parts  which  round  oft, 
as  thoie  that  come  nearer  the  Eye, 
and  that  not  only  for  the  reafon  al- 
ready given,  but  becaufe  moreover 
there  will  always  be  Reflections 
ftronger,  or  weaker,  that  will  di- 
minish the  Force  of  the  Shadows  ; 
which  Reflections  (by  the  way)  muft 
partake  of  the  Colours  of  thofe  things 
from  whence  they  are  produced. 

Any  of  the  leveral  Species  of  Co- 
lours may  be  as  Beautiful  in  their 
Kinds  as  the  others,  but  one  Kind 
is  more  fo  than  another,  as  having 
more  Variety,  and  confifting  of  Co- 
lours 


(  '57  )   . 

lours  more  pleafing  in  their  own  Na- 
ture 5  in  which  ^  and  the  Harmony^  and 
Agreement  of  one  TinEl  with  another ,  the 
the  Goodwft  of  Colouring  conjifls. 

To  fhew  the  Beauty  of  Variety  I 
will  inftance  in  a  Gelder  G(pfe,  which 
is  White  5  but  having  many  Leaves 
one  under  another,  and  lying  hol- 
low fo  as  to  be  feen  through  in  fome 
places,which  occafions  feveral  Tin<5ts 
of  Light,  and  Shadow  5  and  together 
with  thefe  fome  of  the  Leaves  having 
a  Greenifli  Tind,  all  together  pro- 
duces that  Variety  which  gives  a 
Beauty  not  to  be  found  in  this  Paper, 
tho'  'tis  White,  nor  in  the  infide  of 
an  Egg-ftiell  tho'  whiter,  nor  in  any 
other  White  Objeft  that  has  not  that 
Variety. 

And  this  is  the  Cafe,  though  this 
Flower  be  leen  in  a  Room  in  Gloo- 
my, or  Wet  Weather  5  but  let  it  be 
expos'd  to  the  open  Air  when  the  Sky 
is  Serene,  the  Blue  that  thofe  Leaves, 
or  parts  of  Leaves  that  lye  open  co 

it 


C«8  )■ 

it  will  receive,  together  with  the  Re- 
flections that  then  will  alfo  happen 
to  ftrike  upon  it,  will  give  a  great 
Addition  to  its  Beauty  :  But  let  the 
Sun-beams  touch  up  its  Leaves  where 
they  can  reach  with  their  fine  Yel- 
lowifh  TinCt,  the  other  retaining 
their  Sky- Blue,  together  with  the 
Shadows  and  brisk  Reflections  it  will 
then  receive,  and  then  you  will  fee 
what  a  Perfection  of  Beauty  it  will 
have,  not  only  becaufe  the  Colours 
are  more  Pleafant  in  themfelves,  but 
there  is  greater  Variety. 

A  Sky  entirely  Blue  would  have 
lefs  Beauty  than  it  has  being  always 
varied  towards  the  Horizon,  and  by 
the  Sun-beams  whether  Rifing,  Set- 
ting, or  in  its  Progrefs  $  but  neither 
has  it  that  Beauty  as  when  more 
varied  with  Clouds  ting'd  with  Yel- 
low, White,  Purple,  &c. 

A  piece  of  Silk,  or  Cloth  hung, 
or  laid  flat,  has  not  the  Beauty  tho' 
the  Colour  of  it  be  pleafing,  as  when 

flung 


flung  into  Folds  5  nay  a  piece  of  Silk 
that  has  little  Beauty  in  it  felf  fhall 
be  much  improved  only  by  being 
Pink'd,  Water'd,  or  Quilted  $  the 
Reafon  is,  in  thefe  Cafes  there  arifes 
a  Variety  produced  by  Lights,Shades, 
and  Reflections. 

There  are,  as  I  faid,  certain  Co- 
lours lefs  agreeable  than  others,  as  a 
Brick- Wall,  for  example,  yet  when 
the  Sun  ftrikes  upon  one  part  of  it, 
and  the  Sky  tinges  another  part  of 
it,  and  Shadows  and  Reflections  the 
reft,  this  Variety  fhall  give  even 
That  a  Degree  of  Beauty. 

Perfed  Black,  and  White  are  dif- 
agrceable  5  for  which  reafon  2.  fain- 
ter ftould  break^thofe  Extreams  of  Colours 
that  there  may  be  a  Warmth,  and  Mellow* 
neft  in  his  Work^;  Let  hint  (inFlefo  efye- 
daily)  remember  to  aVoid  the  Chalky  the 
(Bricks  and  the  Charcoal,  and  thinly  of  a 
Pearl,  and  a  ripe  Peach. 

But  'tis  not  enough  that  the  Co- 
lours in  themfelves  are  Beautiful  fin- 


(  i  So  ) 

gly,  and  chat  there  be  Variety,  They 
mujt  be  Jet  by  one  another  Jo  as  to  be 
mutually  ajfijlant  to  each  other  5  and 
this  not  only  in  the  Objed  painted, 
but  in  the  Ground,  and  whatsoever 
comes  into  the  Compofition  $  fo  as 
that  every  Part,  and  the  Whole  to- 
gether may  have  a  pleafing  effed:  to 
the  Eye >  fuch  a  Harmony  to  It  as 
a  good  piece  of  Mufick  has  to  the 
Ear}  But  for  which  no  certain  Rules 
can  be  given  no  more  than  for  that  ; 
Except  in  fome  few  General  Cafes 
which  are  very  Obvious,  and  need 
not  therefore  be  mention'd  here. 

The  Beft  that  can  be  done  is  to 
Advife  one  that  would  know  the 
Beauty  of  Colouring,  To  obJerVe  Na- 
ture, and  hoiv  the  bejl  Colourijls  haVe 
imitated  her. 

What  a  Lightnefs,  Thinnefs,  and 
Tranfparency  $  What  a  Warmth, 
Cleannefs,  and  Delicacy  is  to  be  feen 
in  Life,  and  in  good  Pictures ! 

He 


(I6t  ) 

He  that  would  be  a  good  Colourift 
himfelf  muft  moreover  Pra&ice 
much  after,  and  for  a  confiderable 
time  accuftom  himfelf  to  See  well- 
colour'd  Pictures  only :  But  even 
This  will  be  in  vain,  unlefs  he  has  a 
Good  Eye  in  the  ^enfe,  as  one  is 
faid  to  have  a  Good  Ear  for  Mu- 
fick  3  he  muft  not  only  See  well, 
but  have  a  particular  Delicacy  with 
relation  to  the  Beauty  of  Colours, 
and  the  infinite  Variety  of  Tindls. 

The  Venetian,  Lombard,  and  Ffe- 
mi(b  Schools  have  excelld  in  Co* 
louring  5  the  Florent'me,  and  (Roman 
in  Delign  3  the  Bologne >fe  Mafters  in 
both  3  but  not  to  the  Degree  gene- 
rally as  either  of  the  other.  Correg- 
gio,  Titian,  Paolo  Verone/e,  (Rubens, 
and  Van  T)yck^  have  been  admirable 
Colourifts  3  the  latter  in  his  beft 
things  has  followed  common  Na- 
ture extreamly  clofe. 

(Rafaelle's  Colouring,  efpecially  in 

his  Shadows,  is  Blackifli  :  This  was 

M  occafiond 


C    1(52    ) 

occafion'd  by  the  Ufe  of  a  fort  of 
Printer's  Black ,  and  which  has 
chang'd  its  Tinct,  tho'twas  Warm, 
and  Glowing  at  firft,  upon  which 
account  he  was  fond  of  it,  though 
he  was  advifed  what  would  be  the 
Confequence.  However  by  the  vaft 
Progrefs  he  made  in  Colouring  after 
he  apply'd  himfelf  to  it,  'tis  judg'd 
he  would  in  This  part  of  Painting 
alio  have  Excelled,  as  in  the  Others : 
Here  would  have  been  a  Double  Pro- 
digy !  fince  no  one  Man  has  ever 
poifefs  d  even  Colouring,  and  De- 
figning  to  That,  or  any  very  confi- 
derable  Degree. 

Tho'  the  Cartons  are  fome  of  the 
laft  of  his  Works,  it  muft  be  con- 
fefs'd  the  Colouring  of  them  is  not 
equal  to  the  Drawing  3  but  at  the 
fame  time  neither  can  it  be  deny'd 
but  that  he  that  painted  Thofe  could 
Colour  Well,  and  would  have  Co- 
lour'd  Better.  It  muft  be  confider'd 
they  were  made  for  Patterns  for  Ta- 

piftry, 


(  nf,  ) 

piftry,  not  profefs  d  Pictures,  and 
painted,  not  in  Oil,  but  in  Diftem- 
per :  If  therefore  one  (cqs  not 
the  Warmth,  and  Mellownefs,  and 
Delicacy  of  Colouring  which  is  to 
be  found  in  Comggio,  Titian^  or  (?(/<- 
hensy  it  may  fairly  be  imputed  in  a 
great  meafure  to  thefe  Caufes.  A 
Judicious  Painter  has  other  Confi- 
derations  relating  to  the  Colouring 
when  he  makes  Patterns  for  Tapiftry 
to  be  heightned  with  Gold,  and  Sil- 
ver, than  when  he  paints  a  Picture 
without  any  fuch  View  5  nor  can  a 
fort  of  Drynefs,  and  Harfhnefs  be 
avoided  in  Diftemper,  upon  Pa- 
per :  Time  moreover  has  apparent- 
ly chang'd  fome  of  the  Colours.  In 
a  word,  the  Tout-Enfemble  of  the  Co- 
lours is  Agreeable,  and  Noble  $  and 
the  Parts  of  it  are  in  General  Ex- 
treamly,  but  not  Superlatively"  Good. 
1  will  only  add  one  Obfervation 
here  concerning  the  Colours  of  the 
Draperies  of  the  Apoftles  which  are 
M  1  always 


(  "54) 

always  the  fame  in  all  the  Cartons, 
only  S  <Pcter  when  he  is  a  Fifherman 
has  not  his  large  Apoftolical  Drapery 
on.  This  Apoftle,  when  drefs'd, 
wears  a  Yellow  Drapery  over  his 
Blue  Coat  3  S.  John  a  Red  one  over 
a  Green  5  fo  does  S.  Paul  3  which  is 
alfo  the  fame  that  he  wears  in  the  fa- 
mous S.  Cecilia,  which  was  painted 
near  Ten  years  before. 

Handling. 

BY  this  Term  is  underftood  the 
manner  in  which  the  Colours 
are  left  by  the  Pencil  upon  the  Pi- 
cture 3  as  the  manner  of  ufing  the 
Pen,  Chalk,  or  Pencil  in  a  Drawing 
is  the  Handling  of  that  Drawing. 

This  confider'd  in  it  felf  abftrad:- 
edly  is  only  a  piece  of  Mechanicks, 
and  is  Well,  or  III  as  'tis  perform'd 
with  a  Curious,  Expert  3  or  Heavy, 
Clumfey  Hand  3  and  that  whether 
'tis  Smooth,  or  Rough,  or  however 

'tis 


(  i«5  ) 

'tis  done  ^  for  all  the  Manners  of 
Working  the  Pencil  maybe  Well,  or 
111  in  their  kind  $  and  a  fine  light 
Hand  is  feen  as  much  in  a  Rough, 
as  in  a  Smooth  manner. 

I  confefs  I  love  to  fee  a  Freedom 
and  Delicacy  of  Hand  in  Painting  as 
in  any  other  piece  of  Work  $  it  has 
its  Merit.  Tho'  to  fay  a  Pi&ure  is 
juftly  Imagin'd,  well  Difpofed,  truly 
Drawn,  is  Great,  has  Grace,  or  the 
other  gocd  Qualities  of  a  Picture  $ 
and  withal  that  'tis  finely  Handled, 
is  as  if  one  fhould  fay  a  Man  is  Vir- 
tuous, Wife,  Good  natured,  Vali- 
ant, or  the  like,  and  is  alio  Hand- 
fome. 

But  the  Handling  may  be  fuch  as 
to  be  not  only  Good  abftradedly 
confider'd,  but  as  being  Proper,  and 
adding  a  real  Advantage  to  the  Pi- 
cture :  And  then  to  fay  a  Picture  has 
fuch,  and  fuch  good  Properties,  and 
is  alfo  Well  Handled  (in  that  Senfe) 
is  as  to  fay  a  Man  is  Wife,  Virtuous, 
M  3  and 


C  166  ) 

and  the  like,  and  is  alfo  Handfome, 
and  perfectly  Well  bred. 

Generally  if  the  Character  of  the  Pi- 
cture is  Greatneft,  Terrible,  or  SaVage, 
as  Battels,  jobberies,  Witchcrafts,  Ap- 
paritions, or  eVen  the  Portraits  of  Men 
of  juch  Characters  there  ought  to  be  em- 
ploy d  a  Pough,  Bold  Pencil  5  and  con* 
tranly,  if  the  Character  is  Grace,  Beauty, 
LoVe,  Innocence,  Sec.  a  Softer  Penaly 
and  more  fxniflnng  is  proper. 

'Ti,$  no  Objection  againfl  a  Sketch  if 
it  be  left  UnfinijFdy  and  with  Bold 
Rough  Touches,  tho'  it  be  Little,  and 
to  be  feen  Near,  and  whatfoever  its 
Character  be  3  for  thus  it  anfwers  its 
End,  and  the  Painter  would  after 
that  be  Imprudent  to  fpend  more 
time  upon  it.  But  Generally  Small 
Pictures  (Imtld  be  Well  Wrought. 

jewels,  Gold,  Silver,  and  whatfoever 
has  fmart  Brightnefi  require  Bold,  Plough 
Touches  of  the  Pencil  in  the  Heightnings. 
The  Pencil  foould  be  left  pretty 
much  in  Linen,  Stlk*>  and  whatfoeVerhas 
a  Glojfynefi  Jll 


( i«7 ; 

All  large  (pictures,  and  what/oeVer  is 
feen  at  a  great  Diflance  fhould  be^ough  $ 
for  befides  that  'twould  be  lofs  of 
Time  to  a  Painter  to  Finiih  fuch 
things  highly,  fince  Diftance  would 
hide  all  that  Pains  $  thofe  BoldRough- 
nefles  give  the  Work  a  greater  Force, 
and  keep  the  Tin£ts  diltindt. 

Tliemore  gemote  any  thing  is  fuppofed 
to  be,  the  left  Finijhing  it  ought  to  have. 
I  have  feen  a  Fringe  to  a  Curtain  in 
the  Back- Ground  ofaPi&ure,  which 
perhaps  was  hall  a  Day  in  painting, 
but  might  have  been  better  done  m 
a  Minute. 

There  is  often  a  Spirit,  and  Beau- 
ty in  a  Quick,  or  perhaps  an  Acci- 
dental Management  of  the  Chalk, 
Pen,  Pencil,  or  Brufli  in  a  Drawing, 
or  Painting,  which  'tis  impodible  to 
preferve  if  it  be  more  finiih'd  3  ac 
leaft  'tis  great  odds  but  it  will  be 
loft  :  'Tis  better  therefore  to  incur  ihe 
Cenjure  of  the  Injudicious  than  to  hazard 
the  lofingfuch  Advantages  to  theTiBure. 
M  4  Apt'lks 


(  "58  ) 

Apelles  comparing  himlelf  with  Pro- 
togenes  faid,  Perhaps  he  is  Equal,  if 
not  Superior  to  me  in  Some  things, 
but  I  am  fure  I  Excel  him  in  This  : 
I  Iqiqw  when  to  haVe  done. 

Flcjh  in  Ti£tures  to  be  feen  at  a  common 
diflance,  and  efyecially  Portraits,  fl?ould 
(generally  fieaking )  be  well  wrought  up, 
and  then  touch  d  upon  every  where  in  the 
Principal  Lights,  and  Shadows,  and  to 
pronounce  the  Features  5  and  this  more, 
or  lels,  according  to  the  Sex,  Age,  or 
Character  of  the  Perfon,  avoiding 
JSiarrow,  or  long  continued  Strokes,  m 
in  the  Eye-lids,  Mouth,  &c.  and  too  many 
Sharp  ones  :  This  being  done  by  a 
Light  Hand,  Judicioufly,  gives  a  Spi- 
rit, and  retains  the  Softneis  of  Flefh. 
In  fliort  the  Painter  fhould  con- 
fider  what  manner  of  Handling  will 
beft  conduce  to  the  End  he  propoles, 
the  Imitation  of  Nature,  or  the  Ex- 
prefling  thofe  Rais'd  Ideas  he  has 
conceiv'd  of  poffible  Perfection  in 
Nature,  and  That  he  ought  to  turn 

his 


(i69) 

his  Pencil  to  $  Always  remembring 
that  what  is  Soone/l  done  is  Beft,  if 'tis 
Equally  Good  upon  all  other  Accounts. 

There  are  two  Miftakes  very  com- 
mon 5  One  is  becaufe  a  great  many 
good  Pictures  are  very  Rough  paint- 
ed People  fancy  that  is  a  Good  Pi- 
cture that  is  fo.     There  is  Bold  Tain- 
ting, but  there  is  alfo  Impudent  Tain- 
ting.    Others  on  the  contrary  judge 
of  a  Picture  not  by  their  Eyes,  but 
by  their  Fingers  ends,  they  Feel  if  it 
be  good.     Thofe  appear   to   know 
little  of  the  true  Beauties  of  the  Art, 
that  thus  fix  upon  the  leaft  confider- 
able  Circumftance  of  it  as  if  it  were 
AU,    or   the  Principal  thing  to   be 
confider'd. 

1  he  Cartons,  as  they  are  proper- 
ly no  other  than  Colour'd  Drawings, 
ar:  Handled  accordingly,  and  ex* 
treamly  well.  The  Flefh  is  gene- 
rally pretty  much  Finifli'd,  and  then 
finely  Touch'd  upon.  There  is 
much  Hatching  with  the  Point  of  a 

large 


(    170  ) 

large  Pencil  upon  a  prepar'd  Ground. 
The  Hair  is  made  with  fuch  a  Pen- 
cil for  the  mod  part. 

Leonardo  da  Vinci  had  a  wondrous 
Delicacy  of  Hand  in  finishing  high- 
ly, but  Giorgion,  and  Correggw  have 
efpecially  been  famous  for  a  Fine, 
that  is,  a  Light,  Eafy,  and  Delicate 
Pencil.     You  fee  a  Free,  Bold  Hand- 
ling in  the  Works  of  Titian,    Paolo 
Veromje^  Tintoretto,  Rubens,  the  Bor- 
vognone,  Sahator  <%pfa,  &c.  the  Mai- 
teje  had  a  very   particular  manner, 
he    painted    chiefly    Turkey  -  work'd 
Carpets,  and  left  the  Pencil  as  rough 
as  the  Carpet  it  felf,  and  admirably 
well  in   its  kind.     For   Works  at  a 
Great  Diftance  Lanfranc  had  a  Noble 
Manner  of  Handlings  as  particularly 
in  the  Cupola  of  S.  Andrea  della  Valle, 
which   is   in   Frefco,  and  where  the 
Colours  are  flung  on  with  a  Spunge 
nftead  of  a  Pencil,  or  a  Brufh  $  not 
or  a  Whim,  but  as  mod  proper  to 
le  purpofe  j  and  an  Eye  (for  exam- 
ple) 


( '7i ; 

pie)  appears  Near,  as  one  Rude  Spot, 
but  as  it  ought  at  its  intended  Di- 
ftance.  Perhaps  no  Man  ever 
manag'd  a  Pencil  in  all  the  feveral 
Manners  better  than  Van-Qyck* 

Of  Grace  and  Greatness, 

THere  is  fome  Degree  of  Merit 
in  a  Picture  where  Nature 
is  Exactly  copy'd,  though  in  a  Low 
Subject  3  Such  as  Drolls,  Countrey 
Wakes,  Flowers,  Landfcapes,  &c. 
and  More  in  proportion  as  the  Sub- 
je£t  rifes.  or  che  End  of  the  Picture 
is  this  Exait  Reprefentation.  Herein 
the  Dutch,  and  Flemifl?  Mafters  have 
been  Equal  to  the  Italians,  if  not 
Superior  to  them  in  general.  What 
gives  the  Italians,  and  Their  Mafters 
the  Ancients  the  Preference,  is,  that 
they  have  not  Servilely  followed 
Common  Nature,  but  Rais'd,  and 
Improv  d,  or  at  lead  have  always 
made  the  Belt  Choice  of  it.      This 

gives 


(  I72  ) 
gives  a  Dignity  to  a  Low  SubjeCt, 
and  is  the  reafon  of  the  Efteem  we 
have  for  the  Landfcapes  of  Sahator 
^ofa,  Filippo  Laura,  Claude  Lonainy 
the  Touffms  5  the  Fruit  of  the  two 
Michelangelo's,  the  ^attaglia,  and  Cam- 
padoglio  5  and  This,  when  the  Sub- 
jeCt  it  felf  is  Noble,  is  the  Perfection 
of  Painting  :  As  in  the  beft  Portraits 
of  Van-Vyck^  (Rubens,  Titian,  (ftafaelley 
tsre.  and  the  Hiftories  of  the  beft 
Italian  Mailers ;  chiefly  thofe  of  <^a- 
facile  $  he  is  the  great  Model  of  Per- 
fection !  All  the  Painters  being  rank'd 
in  three  feveral  ClalTes  according  to 
the  Degrees  of  their  Merit,  He  muft 
be  allow'd  to  polTefs  the  Firft  Alone. 
Common  Nature  is  no  more  fit 
for  a  Picture  than  plain  Narration 
is  for  a  Poem  :  A  Painter  muft  raife 
his  Ideas  beyond  what  he  kcsy  and 
form  a  Model  of  Perfection  in  his 
Own  Mind  which  is  not  to  be  found 
in  Reality  $  but  yet  Such  a  one  as  is 
Probable;  and  Rational.  Particularly 

with 


(  '73  ) 

with  refpeft  to  Mankind,  He  mud 
as  it  were  raife  the  whole  Species, 
and  give  them  all  imaginable  Beau- 
ty, and  Grace,  Dignity,  and  Per- 
fection 3  Every  feveral  Character, 
whether  it  be  Good,  or  Bad,  Amia- 
ble, or  Deteftable,  mud  be  Strong- 
er, and  more  Perfe£t. 

At  Court,  and  elfewhere  amongft 
People  of  Condition,  one  fees  ano- 
ther fort  of  Beings  than  in  the  Coun- 
trey,  or  the  Remote,  and  Inferior 
parts  of  the  Town  j  and  amongft 
Thefe  there  are  fome  few  that  plain- 
ly diftinguifh  themfelves  by  their 
Noble,  and  Graceful  Airs,  and  man- 
ner of  Acting,  There  is  an  Eafy 
Gradation  in  all  Nature  5  the  moil 
Stupid  of  Animals  are  little  more 
than  Vegetables,  the  mod  Sagaci- 
ous, and  Cunning  are  hardly  interior 
to  the  loweft  Order  of  Men,  as  the 
Wifeft,  and  moft  Virtuous  of  Thefe 
are  little  below  the  Angels.  One 
may  conceive  an  Order  Superior  to 

what 


(  T74  ) 

what  can  any  where  be  found  on 
our  Globe  3  a  kind  of  New  World 
may  be  form'd  in  the  Imagination, 
confil1:ing7  as  This,  of  People  of  all 
Degrees,  and  Characters  3  only 
Heightened,  and  Improv'd  :  A  Beau* 
tiful  Gentile  Woman  muft  have  her 
Defeats  Overlooked,  and  what  is 
Wanting,  toCompleat  her  Character 
fupply  d  :  A  Brave  Man,  and  one 
Honcftly,  and  Wifely  purfuing  his 
Own  Incereft,  in  Conjunction  with 
that  of  his  Countrey,  muft  be  ima- 
gin'd  more  Brave,  more  Wile,  more 
exaCtiy,  and  inflexibly  Honeft  than 
any  we  know,  or  can  hope  to  fee  : 
A  Villain  muft  be  conceived  to  have 
fomethmg  more  Diabolical  than  is 
to  be  found  even  amongft  us  3  a 
Gentleman  muft  be  more  fo,  and  a 
Peafant  have  more  of  the  Gentle- 
man, and  lb  of  the  reft.  With  fuch 
as  TJ?efe  an  Jrtift  muft  People  his 
tpittures. 

Thus 


('75) 

Thus  the  Antients  have  done: 
Notwithftanding  the  Great,  and  Ex- 
alted Ideas  we  may  have  of  the  Peo- 
ple of  Thofe  times  from  their  Hi- 
ftories,  (which  probably  are  Im- 
proved by  the  Hiftorians  ufing  the 
fame  Management  in  their  Writings 
as  I  am  recommending  to  the  Pain- 
ters ;  It  was  the  Poets  proper  Bufi- 
nefs  fo  to  do)  one  can  hardly  believe 
them  to  be  Altogether  fuch  as  we 
lee  in  the  Antique  Statues,  Bas- 
Reliefs,  Medals,  and  Intaglias.  And 
thus  the  beft  Modern  Painters,  and 
Sculptors  have  done.  Michelangelo 
no  where  faw  fuch  Living  Figures 
as  he  cut  in  Stone  5  and  (ftafaelle  thus 
writes  to  his  Friend  the  Count  <Bal- 
dajfar  Caftiglione,  Ma  ejfendo  car  eft  ta  e 
de  i  buoni  giud'tcii,  &  di  belle  donne,  to 
mi  ferVo  di  certa  idea  chi  mi  Yiene  alia 
mente.  The  Letter  is  in  Bettor  is 
Defcription  of  the  Pictures  in  the 
Vatican,  and  in  the  Collection  of 
Letters  I  have  cited  heretofore. 

When 


(  >7«   ) 

When  a  Man  enters  into  that  Aw- 
ful Gallery  at  Hampton-Court,  he 
finds  himielf  amongft  a  fort  of  Peo- 
ple Superior  to  what  he  has  ever 
feen,  and  very  probably  to  what 
Thofe  Really  were.  Indeed  This  is 
the  Principal  Excellence  of  thofe 
wonderful  Pi&ures,  as  it  muft  be  al- 
low d  to  be  that  Part  of  Painting 
which  is  preferable  to  all  others. 

What  a  Grace,  and  Majefty  is 
feen  in  the  great  Apoftle  of  the 
Gentiles,  in  all  his  Actions,  Preach- 
ing, Rending  his  Garments,  De- 
nouncing Vengeance  upon  the  Sor- 
cerer 1  What  a  Dignity  is  in  the  o- 
ther  Apoftles  where-ever  they  ap- 
pear, particularly  the  Prince  of  them 
in  the  Carton  of  the  Death  of  Ana- 
nias I  How  infinitely,  and  Divinely 
Great,  and  Gentile  is  the  Chrift  in 
the  Boat !  But  thefe  are  exalted  Cha- 
racters which  have  a  Delicacy  in 
them  as  much  beyond  what  any  of 
the  Gods,  Demi-Gods,  or  Heroes  of 

the 


(  '77) 

the  Antient  Heathens  can  admit  of, 
as  the  Chriftian  Religion  excels  the 
Ancient  Superftition.  The  Procon- 
ful  Sergius  Tanks  has  a  Greatnefs, 
and  Grace  Superior  to  his  Character, 
and  Equal  to  what  one  can  fuppofe 
C&jar,  Auguftus,  Trajan,  or  the  grea- 
teftamongft  the  Romans  to  have  had. 
The  Common  People  are  like  Gen- 
tlemen 5  even  the  Fifhermen,  the 
Beggars,  have  fomething  in  them 
much  above  what  We  lee  in  thofe 
Orders  of  Men. 

And  the  Scenes  are  anfwerable  to 
the  A&ors  )  not  even  the  Beautiful 
Gate  of  the  Temple,  nor  any  Part 
of  the  firft  Temple,  nor  probably 
any  Building  in  the  World  had  that 
Beauty,  and  Magnificence  as  ap- 
pears in  what  we  lee  in  the  Carton 
of  Healing  the  Cripple.  Athens,  and 
Lyftra  appear  in  thefe  Cartons  to  be 
beyond  what  we  can  fuppofe  they 
were  when  Greece  was  in  its  utmoft 
Glory  :  Even  the  Place  where  the  A- 
N  pofttes 


(  178  ) 

poftles  were  aflfembled  (in  the  Car- 
ton o$  Ananias)  is  no  Common  Room* 
and  tho'  the  Steps,  and  Rails  which 
were  made  on  purpofe  for  them  for  the 
Exercife  of  their  New  Function  have 
fomething  expreflive  of  the  Poverty, 
and  Simplicity  of  the  Infant  Church, 
the  Curtain  behind,  which  alfo  is 
part  of  the  Apoftolical  Equipage, 
gives  a  Dignity  even  to  That. 

?Tis  true  there  are  fome  Chara- 
cters which  are  not  to  be  Improv'd, 
as  there  are  Others  impoffible  to  be 
perfectly  Conceived,  much  lefs  Ex- 
prefs'd.  The  Idea  of  God  no  Crea- 
ted Being  can  comprehend,  the  Di- 
vine Mind  only  can,  and  "tis  the 
Brightefl:  There  5  And  Infinitely 
Bright !  and  would  be  judg'd  to  be 
fo  even  by  "Us,  tho'  the  Difficulties 
^rifing  from  the  Confederation  of 
the  Moral,  and  Natural  Evil  which 
is  in  the  World  were  not  to  be  folv'd 
by  the  Common  Expedients.    I  will 

only 


(  l79  ) 

only  venture  to  fay  with  refpeft  to 
the  latter,  that  This  is  fo  far  from 
being  an  Objection  to  the  Infinite 
Goodnefs  of  God,  that  God  could 
not  have  been  Infinitely  Good  if  he 
had  not  producd  an  Order  of  Beings 
in  which  there  was  fuch  a  Mixture  of 
Natural  Evils  as  to  be  juft  prepon- 
derated by  the  Enjoyments,  fo  as  up- 
on the  Foot  of  the  Account  to  ren- 
der Being  Eligible  5  for  without  This, 
One  Inftance  of  Goodnefs  had  been 
omitted. 

No  Statue,  or  Pi&ure  3  no  Words 
can  reach  this  Character  3  The  Co- 
loffean  Statue  of  Thidias,  the  Pi<5tures 
of  (Rafaelle,  are  but  faint  Shadows  of 
this  Infinite,  and  Incomprehenfible 
Being.  TheThundeRER,  the 
Best,  and  Greatest:  The 
Father  ofGod  sand  Men, 
of  Homer  3   the  Elohim,  the  J  e- 

H  O  V  A  H,    the  I  A  M    T  H  A  T  I   AM 

of  Mo/es  3  the  L  o  R  d  of  H  o  s  T  s  of 
the  Prophets  :  Nay  the  God  and 

N  2  Fa- 


C  '80) 

Father  of  our  LordJESUS 
CHRIST,    the  Alpha  and  O- 

MEGA,    the  ALL     IN    ALLof  the 

New  Teftament  :  Thefe  give  us  not 
an  Adequate  Idea  of  Him  5  though 
That  comes  neareft  where  not  Ter- 
ror, and  Fury,  but  Majefty,  Power, 
Wifdom,  and  Goodnefs,  is  beft  Ex- 
prefs'd. 

May  thy  Idea  ever  dwell  with  me, 
From  Reafon,  not  from  Prejudice  derived, 
Enlargdy  Improved,  and  Brighten' d  more  and 

(more. 
As  Oriental  Day,  Serene  and  Sweet, 
When  Springy  and  Summer  for  the  Prize  contend : 
The  Richeft  Cordial  for  the  Heart  !  a  Light 
Dif covering  Errors  Infinite  Labyrinths  ! 
The  Ornament^  and  Treafure  of  the  Soul! 
ImperfecJ  as  it  is. ■  ■     ■ 

A  God  Incarnate,  and  Saviour  of 
Mankind  by  Obedience  and  Suffer- 
ing 3  a  Crucified  God  riien  from  the 
Dead  :  Thefe  are  Characters  that 
have  fomething  io  Sublime  in  them, 
that  we  mud  be  contented  to  own 
our  beloved  ^afaclk  has  fail  d  here, 

more 


(.8.  ) 

more  efpecially  in  fome  Inftances  5 
I  don't  mean  that  in  the  Carton  of 
Giving  the  Keys,  for  that  I  verily 
believe  has  received  fome  Injury,  and 
is  not  Now  like  what  ^afaelle  made 
it.  That  incomparable  Hand  that 
painted  the  Hiftory  of  Cupid  and 
(Pfycbe,  in  the  Palace  of  Chigi  at  (Rome, 
has  carried  the  Fictitious  Deities  of 
the  Heathens  as  high  as  poffible,  but 
not  beyond  what  fliould  be  con- 
ceiv'd  of  them  ;  As  Michelangelo  fino- 
naroti  (particularly  in  two  or  three 
Drawings  I  have  of  him)  has  made 
Devils  not  fuch  as  low  Genius's  re- 
prefent  'cm,  but  like  thofe  of 
Milton  y 

His  Face 


Deep  Scars  of Thunder  bad  intrench'^  and  Care 
Sat  on  his  faded  Cheek,  hut  under  Brows, 
Of  Daunt lefs  Courage,  and  Confiderate  Pride 
Waiting  Revenge  :  Cruel  his  Eye 

But  the  Proper  Idea  of  a  Devil  has 
fuch  an  Excefs  of  Evil  in  it  as  can- 
not be  exaggerated  :  In  all  fuch  Cafes 

N  }  'tis 


(  i8*  ) 

'tis  lufficient  if  all  be  done  that  can 
be  done  :  The  Painter  mud  (hew 
what  he  aims  at,  he  muft  give  him 
that  fees  the  Picture  all  the  Afliftance 
he  can,  and  then  leave  him  to  fup- 
ply  the  reft  in  his  own  Imagination. 
There  are  ether  Characters  which 
tho'  Inferior  to  Thefe  are  fo  Noble, 
that  he  muft  be  a  Happy  Man  who 
can  Conceive  them  Juftly,  but  more 
So  if  he  can  Exprefs  them :  Such  are 
thofe  of  Mofesy  Homer,  Xenophon, 
Jlcibiades,  Scipio,  Cicero^  (fiafaelk,  Sec. 
If  we  fee  Thefe  pretended  to  be  given 
in  Picture,  we  expe<5t  to  fee  them 


Comely,  and  in  Act 


Raised,  as  offome  great  Matter  to  begin. 
As  when  of  old  fome  Orator  renown*  & 
In  Athens,    or  Free  Rome,  where  Eloquence 
Flourifh'd,  fince  Mute,  to  fome  great  Laufe  ad- 

(drefsd 
Stood  in  bimfelf  collected,  while  each  Part, 
Motion,  each  A£i  won  Audience  e'er  the  Tongue. 

Milton. 

We  expecft    all  that  Greatnefs,  and 
Grace  1  have  been  recommending  $ 

All 


All  is  neceflary  Here  in  order  to  fa- 
tisfy  Us  that  the  Hiftory  is  Truly  re- 
lated 3  as  the  Pleafure  we  take  in 
having  our  Minds  fill'd  with  Fine 
and  Extraordinary  Ideas  isafufficient 
Reafon  for  Railing  all  the  more  In- 
ferior Characters.  Life  would  be  an 
Infipid  thing  indeed  if  we  never  faw, 
or  had  Ideas  of  any  thing  but  what 
we  Commonly  fee  3  a  Company  of 
Awkard,  and  Silly-looking  People, 
doing  what  is  of  no  Confecjuence 
but  to  Themfelves  in  their  own  Lit- 
tle Affairs  3  and  to  fee  Such  in  Pic- 
ture can  give  no  great  Pleafure  to 
any  that  have  a  True,  and  Refin'd 
Tafte. 

A  Hiftory-Painter  muft  defcribe 
all  the  Various  Characters,  Real,  or 
Imaginary  3  and  that  in  all  their  Si- 
tuations, Pleas'd,  Griev'd,  Angry, 
Hoping,  Fearing,  &c.  A  Face-Pain- 
ter has  to  do  with  all  the  Real  Cha- 
racters, except  only  fome  few  of  the 
Meaneft,  and  the  moft  Sublime,  but 
N  4  not 


r  184  ;        . 

not  with  that  Variety  of  Sentiments 
as  the  other.  The  whole  Bufinefs 
of  His  Life  is  to  defenbe  the  Golden 
Jge,  when 


Vniverfal  Pan 


Knit  with  the  Graces^  and  the  Hours  in  Dance 
Led  on  ttf  Eternal  Spring. 

Every  one  of  His  (people  therefore  mufi 
appear  Pleas' 'J,  and  in  Good  Humour  3 
but  Varied  fult  ably  to  the  P(aisd  Character 
of  the  Perfon  drawn  5  whether  this 
Tranquillity  and  Delight  be  fuppofed 
to  arile  from  the  Sight  of  a  Friend, 
a  Reflection  upon  a  Scheme  well 
laid,  a  Battel  gain'd,  Succefs  in 
Love,  a  Confcioufnefs  of  ones  own 
Worth,  Beauty,  Wit  5  Agreeable 
News,  Truth  difcover'd,  or  from 
whatever  other  Caufe.  If  a  Devil 
were  to  have  his  Portrait  made,  he 
muft  be  drawn  as  abftraEled  from  his 
Own  £v/7,  and  Stupidly  Good  5  (to  ufe 
Mdton  s  Words  once  again.) 


if 


f'8$; 

If  fome  Grave  Characters  require 
an  Air  of  Thoughtfulnefs,  as  if  en- 
gagd  in  a  diligent  Search  afcerTruth, 
or  in  fome  Important  Project,  they 
muft  however  not  appear  Difpleas'd, 
unlefs  in  fome  rare  Inftances,  as  Van- 
Dyck^  has  put  fomething  of  Sorrow- 
in  one  Pidure  of  his  Unfortunate 
Patron  King  Charles  I.  (I  mean  that 
at  Hampton- Court)  which  I  believe 
was  done  when  he  was  entring  into 
his  Troubles,  and  which  is  therefore 
in  that  refped  Hiftorical.  In  Gene- 
ral 5  the  Painting-Room  muft  be 
like  Eden  before  the  Fall,  like  Arcadia, 
the  Joylefs,  Turbulent  Paflions  muft 
not  enter  there. 

Thus  to  raife  the  Charader  :  To 
diveft  an  Unbred  Perfon  of  his  Ru- 
fticity,  and  give  him  fomething  at 
leaftofa  Gentleman  5  to  make  one 
of  a  moderate  Share  ofgoodSenfe 
appear  to  have  a  Competency,  a  Wife 
Man  to  be  more  Wife,  and  a  Brave 
Man  to  be  more  fa,  a  Modeft,  De- 
creet 


creet  Woman  to  have  an  Air  fome- 
thing  Angelical,  and  fo  of  the  reft  3 
and  then  to  add  that  Joy,  or  Peace 
of  Mind  at  leaft,  and  in  fuch  a  man- 
ner as  is  fuitable  to  the  feveral  Cha- 
racters, is  abfolutely  neceflary  to  a 
good  Face-Painter:  But  'tis  the  mod 
Difficult  part  of  his  Art,  and  the  laft 
attain^  perhaps  'tis  never  fo  much 
as  Thought  of  by  Some  :  All  that 
They  aim  at  is  to  make  fuch  a  Like- 
nefs  of  the  Face  as  fhall  be  Known 
immediately  3  and  that  it  be  Young, 
Fair,  and  Handfome3  and  frequent- 
ly thofe  for  whom  the  Pictures  are 
made  ExpeCt  no  more  5  whether  the 
Characters  of  Wifdom,  or  Folly  be 
imprefs'd  upon  them  it  matters  not. 
Accordingly  we  fee  Portraits  which 
are  perfeCtBurlefques  upon  the  Minds 
of  the  Perfons  drawn  ;  a  Wife  Man 
fhall  appear  with  the  Air  of  a  Fop  3 
a  Man  of  Spirit,  and  Wit,  like  a 
Smart,  or  a  Pretty  Fellow  3  a  Mo- 
del! Ingenious  Man  like  a  Beau  3  a 

Virtu- 


r  '87 ; 

Virtuous  Lady  as  a  meer  Coquet. 

The  late  Duke  of  Buckingham 
(Vtlliers)  when  he  heard  a  Lady  com- 
mended for  her  Goodnefs,  fwore 
flie  was  Ugly  5  becaufe  Beauty  be- 
ing a  Woman's  Top-Chara&er,  he 
concluded  That  would  have  been 
infilled  on  if  there  was  any  ground 
for  it.  A  Painter  fliould  obferve, 
and  pronounce  Strongly  the  Bright- 
eft  Part  of  the  Character  of  him  he 
draws.  To  give  an  Air  of  Youth, 
and  Gayety  to  the  Portrait  of  one 
who  is  entitled  to  nothing  Higher 
is  well  enough  ;  but  to  over-look  a 
Noble,  and  Sublime  Character,  and 
fubftitute  This  in  the  place  of  it  is 
deteftable.  The  only  Suppofing  a 
Man  capable  of  being  pleas'd  with 
fuch  a  piece  of  Falfe  Flattery,  is  a 
Lampoon  upon  his  llnderftanding. 

Nor  is  the  Beauty  of  the  Face,  and 
Perfon,  whether  as  to  the  Age,  Fea- 
tures, Shape,  or  Colour  to  be  unre- 
garded, or   (where  it  can  be  done) 

un- 


(  '88  ) 

unimprov  d  :  Indeed  lomeching  of 
This  will  naturally  fall  in  when  the 
Mind  is  Exprefs'd,  which  cannot  be 
done  to  Advantage  without  giving 
Some  to  the  Body. 

But  the  Face-Painter  is  under  a 
greater  Conftraint  in  both  refpects 
than  he  that  Paints  Hiftory  3  the  Ad- 
ditional Grace,  and  Greatnefs  he  is 
to  give,  above  what  is  to  be  found 
in  the  Life,  muft  not  be  thrown  in 
too  profufeljr,  the  Refemblance  muft 
be  preferv'd,  and  appear  with  Vi- 
gour 3  the  Picture  muft  have  Both. 
Then  it  may  be  faid,  that  the  Gen- 
tleman, or  Lady  makes  a  Fine,  or  a 
Handfome  Picture  :  But  the  Likenefs 
not  being  regarded,  'tis  not  They, 
but  the  Painter  that  makes  it  3  nor 
is  there  any  great  Difficulty  in  ma- 
king Such  Fine  Pi&ures. 

I  was  lately  obferving  with  a  great 
deal  of  Plealure  how  the  Ancients 
had  lucceeded  in  the  three  feveral 
ways  of  Managing  Portraits  :  I  hap- 
pen d 


(  i8p) 

pen'd  to  have  then  before  me  (a- 
mongft  others)  feveral  Medals  of  the 
Emperor  Maximinus,  who  was  parti- 
cularly  remarkable  for  a  long  Chin  : 
One  Medal  of  him  had  That,  but 
that  the  Artifl  irrght  be  fure  of  a 
Likenefs  he  had  Exaggerated  it  :  A- 
rioiher  had  a  mind  to  Flatter,  and 
he  had  par'd  off  about  half  of  it  : 
•  But  thefe  as  they  wanted  the Juft  Re- 
femblance,  fo  there  was  a  Poverty 
in  them  5  they  were  deftitute  of  that 
Life,  and  Spirit  which  the  other  had, 
where  Nature  feems  to  have  been 
more  clofely  followed.  In  making 
Portraits  we  muft  keep  Nature  in 
View  5  if  we  launch  out  into  the 
Deep  we  are  loft. 

What  it  is  that  gives  the  Grace 
and  Greatnefs  I  am  treating  of  whe- 
ther in  Hiftory  or  Portraits,  is  hard 
to  fay.  The  following  Rules  may 
however  be  of  fome  Ule  on  this  Oc- 
caiion. 

77* 


(   ipo   ) 

Tlx  Airs  of  the  Heads  mu ft  efyecially 
be  regarded.  This  is  commonly  the 
firft  thing  taken  notice  of  when  one 
comes  into  Company,  or  into  any 
Publick  AfTembly,  or  at  the  firft 
Sight  of  any  particular  Perfon  5  and 
This  firft  ftrikes  the  Eye,  and  affedts 
the  Mind  when  we  fee  a  Picture,  a 
Drawing,  &c. 

Tl?e  fame  regard  mufl  be  had  to  every 
JHiorty  and  Motion.  The  Figures  muft 
not  only  do  what  is  Proper,  and  in 
the  moft  Commodious  Manner,  but 
as  People  of  the  beft  Senfe,  and 
Breeding,(their  Character  being  con- 
fider'd)  wrould,  or  fhould  perform 
fuch  A&ions.  The  Painter's  People 
muft  be  good  A&ors  $  they  muft 
have  learn'd  to  ufe  a  Humane  Body 
well  3  they  muft  Sit,  Walk,  Lye, 
Salute,  do  every  thing  with  Grace. 
There  muft  be  no  Awkard,  Sheep- 
ifli,  or  Affedted  Behaviour,  no  Strut- 
ting, or  filly  Pretence  to  Greatnefs  5 
no  Bombaft  in  Action  :  Nor  muft 

there 


(  '9*  ) 

there  be  any  Ridiculous  Contorfiori 
of  the  Body,  Nor  even  fuch  Appea- 
rances, or  Fore-ftiortnings  as  are  dif- 
pleafing  to  the  Eye,  though  the  fame 
Attitude  in  another  View  might  be 
perfe&ly  Good. 

Not  that  'tis  poflible  that  every 
part  of  a  Picture,  or  even  of  a  Single 
Figure  can  be  Equally  well  difpos'd  3 
Something  may  not  be  as  one  would 
wifh  it  3  yet  in  the  main  it  may  be 
better  than  if  it  wereotherwife  3  more 
may  be  Loft  than  Gain'd  by  the  Al- 
teration 5  'Tis  here  as  'tis  in  Life  3 
We  are  frequently  Uneafy  under  cer- 
tain Circumftances,  but  thofe  being 
removed,  we  wifli  our  felves  as  we 
were  before  3  The  prefent  Grievance 
ftrikes  ftrongly  on  our  Minds,  we 
either  don't  See,  or  are  not  fo  live- 
lily  affedted  with  the  Confequences 
of  a  Change. 

The  Contours  mufk  be  Large,  Square, 
and  'Boldly  pronounced  to  produce  Great" 
nej?$    and  Delicate,    and  finely  Waved, 

and 


(  192    ) 

and  Contra/led  to  be  Gracious.  There 
is  a  Beauty  in  a  Line,  in  the  Shape 
of  a  Finger,  or  Toe,  even  in  that  of 
a  Reed,  or  Leaf,  or  the  moft  incon- 
siderable things  in  Nature  :  I  have 
Drawings  of  Giulio  (Romano  of  fome- 
thing  of  this  Kind  3  his  Infe&s,  and 
Vegetables  are  Natural,  but  as  much 
above  thofe  of  other  Painters  as  his 
Men  are  :  There  is  that  in  thefe 
things  which  Common  Eyes  fee  not, 
but  which  the  Great  Mafters  know 
how  to  give,  and  They  Only. 

But  this  is  not  all  5  Nature  with 
all  its  Beauties  has  its  Poverties,  Su- 
perfluities, and  Defedts,  which  are 
to  be  avoided,  and  fupply'd  5  but 
with  great  Care,  and  Judgment,  that 
inftead  of  Exceeding  Nature,  it  be 
not  Injured.  There  is  (for  example) 
great  Beauty  in  a  certain  Squarenefs 
in  pronouncing  a  Feature,  or  any 
pare  of  a  Figure  5  This  fome  have 
carried  to  an  Excefs,  and  have  there- 
by difcover'd  they  knew  Something, 

but 


(  ln  ) 

but  not  Enough  5  which  is  the  Cafe 
in  many  other  inftances.  What  is 
here  faid  of  Drawing,  is  applicable 
alfo  to  Colouring, 

The  Draperies  muft  haVe  broad  Maffes 
of  Light,  and  Shadow,  and  noble  large 
Folds  to  give  a  Greatnef?  5  and  Tbefe 
artfully  fubdiYided,  add  Grace.  As  in 
that  Admirable  Figure  of  S  Paul 
Preaching,  of  which  1  have  already 
fpoken,  the  Drapery  would  have  had 
a  Greatnefs  if  that  whole  Broad 
Light  had  been  kept,  and  that  pare 
which  is  flung  over  his  Shoulder, 
and  hangs  down  his  Back  had  been 
omitted  5  but  That  adds  alfo  a  Grace. 
Not  only  the  large  Folds,  and  Maf- 
fes muft  be  obferv'd,  but  the  Shapes 
of  'em,  or  they  may  be  Great,  but 
not  Beautiful. 

The  Linnen  ?nufl  be  Clean,  and  Fine  5 
the  Silks,  and  Stuffs  new  5  and  the  Bejl 
of  the  fQnd. 

Lace,  Embroidery,    Gold  and  Jewels 

muft  be  fyaringly    employed.     Nor  are 

O  Flower'd 


(  <5>4  ) 

Flower5  d  Silks  fo  much  us'd  by  the 
bed  Matters  as  Plain  $  nor  Thefe  fo 
much  as  Scuffs,  or  fine  Cloth  5  and 
that  not  to  fave  themfelves  Trouble, 
of  which  at  the  fame  time  they  have 
been  profufe  enough.  In  the  Car- 
tons %afaelle  has  fometimes  made 
Silks,  and  fome  of  his  Draperies  are 
Scollop  d,  fome  a  little  Strip'd,  fome 
Edg'd  with  a  kind  of  Gold  Lace,  but 
Generally  they  are  Plain.  Tho'  he 
feems  to  have  taken  more  Pains  than 
needed  in  the  Landfcapes,  as  he  has 
alfo  in  thofe  Badges  of  Spiritual  Dig- 
nity on  the  Heads  of  Chrift,  and  the 
Apoftles .  But  thefe,  as  all  other  En- 
figns  of  Grandeur,  and  Diftindtion, 
as  they  have  been  Wifely  Invented 
to  procure  Refpeft,  Awe  and  Vene- 
ration, give  a  Greatnefs,  as  well  as 
Beauty  to  a  Picture. 

Tts  of  Importance  to  a  Painter  to  con- 
Jtder  well  the  Manner  of  Cloathing  his 
People.  Mankind  have  (hewn  an 
infinite  Variety  of  Fancy  in  this,  and 

for 


(  *95  ) 

for  the   mod   pare   have   DifguisM 
rather  than  Adorn'd  Humane  Bodies. 
But  the  trueft  Tafte  in  this  Matter 
the  Antient  Greeks,  and  ($o?nans  Teem 
to  have  had  5  at  leaft  the  great  Idea 
we  have  of  thofe  brave  People  pre- 
judices us  in  Favour  of  whatever  is 
Theirs,  fo  that  It  fhall  appear  to  Us 
to  be  Graceful,  and  Noble  :  Upon 
either  of  which  Accounts,  whether 
of  a  Real,  or  Imagin'd  Excellence, 
That  manner  of  Cloathing  is  to  be 
thofen  by  a  Painter  when  the  Nature 
of  his  Subject  will  admit  of  it.  Pof- 
fibly  Improvements  may  be  made, 
and  fhould  be  Endeavour'd,  provi- 
ded one  keeps  this  Antique  Tafte  in 
View,  fo  as  to  preferve  the  Benefit 
of  Prejudice  juft  now  fpoken  of  And 
This  very  thing  <%afaelle  has  done 
with  great   Succefs,   particularly  in 
the  Cartons. Thofe  that,  in  reprefent- 
ing  ancient  Stories,  have  foilow'd  the 
Habits  of  their  Own  Times,  or  gone 
off  from  the  Antique,  have  fuflfer'd  by 
O  2  it. 


it  5  as  Andrea  del  Sarto,  (who  firffc  led 
the  way)  and  moft  ofthofe  of  the  Vt- 
netian  School  have  done. 

But  howfoever  a  Figure  is  clad, 
This  General  Rule  is  to  de  obferv'd, 
That  neither  mujl  the  Naked  be  lofl 
in  the  Drapery,  Nor  too  con/picuous  ; 
as  in  many  of  the  Statues,  and  Bas- 
Reliefs  of  the  Ancients,  and  (which 
by  the  way)  they  were  forc'd  to,  be- 
caufe  to  have  done  otherwife  would 
not  have  had  a  good  Effect  in  Stone. 
The  Naked  in  a  Cloathed  Figure  is 
as  the  Anatomy  in  a  Naked  Figure  $ 
it  fhould  be  fliewn,  but  not  with  Af- 
fedtation. 

(portrait-Pa'mters  feeing  the  Dis- 
advantage they  were  under  in  fol- 
lowing the  Drefs  Commonly  worn, 
have  Invented  One  peculiar  to  Pi- 
ctures in  their  Own  way,  which  is  a 
Compofition  partly  That,  and  part- 
ly fomething  purely  Arbitrary. 

Such  is  the  ordinary  Habit  of  the 
Ladies,  that  how  becoming  foever 

they 


(  l97  ) 

they  may  be  fancy 'd  to  be  as  being 
worn  by  Them,  or  what  we  are  Ac- 
cuftomed  to,  or  upon  whatever  other 
account,  'tis  agreed  on  all  hands 
that  in  a  Picture  they  have  but  an 
111  Air  ;  and  accordingly  are  reject- 
ed for  what  the  Painters  have  intro- 
duc'd  in  Lieu  of  it,  which  is  indeed 
Handfome,  and  perhaps  may  be  Im- 
prov'd. 

In  the  Gentlemens  Pictures  the 
Cafe  is  very  different,  'tis  not  fo  ea- 
fy  to  determine,  as  to  their  Drapery. 

What  is  to  be  faid  for  the  Com- 
mon Drefs  is,  That 

It  gives  a  greater  Refemblance^ 
and 

Is  Historical  as  to  That  Article. 

The  Arguments  for  the  Other  are. 
That 

They  fuit  better  with  the  Ladies 
Pi&ures,  which  (as  has  been  obferv'd) 
are  univerfally  Thus  drefs'd  5 

They  are  not  fo  affe&ed  with  the 
O  3  Change 


(  ip8  ) 

Change  of  the  Faftiion  as  the  Com- 
mon Drefs  •  And 

Are  Handfomer  -5  that  i$,  have 
more  Grace,  and  Greacnefs. 

Lee  us  fee  how  the  Cafe  will  ftand, 
this  latter  Confederation  of  Hand- 
fomnefs  being  for  the  prefent  fee 
afide. 

The  firft  Argument  in  Favour  of 
the  Arbitrary  Loofe  Drefs  feems  to 
have  no  great  Weight  -3  Nor  is  there 
fo  much  as  is  commonly  Thought 
in  the  fecond  $  becaufe  in  thofe  Pi- 
ctures which  have  that  Kind  of  Dra- 
pery fo  much  of  the  Drefs  of  the 
Time  is  always,  and  Muft  be  re- 
tain'd,  and  that  in  the  moft  Obvi- 
ous, and  Material  Parts,  that  they  are 
influene'd  by  the  Change  of  Fafhion 
in  a  manner  as  much  as  thole  in  the 
Habit  commonly  worn.  For  Proof 
of  this  I  refer  you  to  what  was  done 
when  the  great  Wiggs,  and  fpread- 
ing  huge  Neckcloaths  were  in  Fa- 
fhion.    So  that  here  does  not  feem 

to 


(  l99  ) 

to  be  Weight  enough  to  balance  a- 
gainft  what  is  on  the  other  Side, 
even  when  the  greateft  Improvement 
as  to  the  Colour,  or  Materials  of  the 
Common  Drefs  is  made,  for  ftill 
there  will  be  a  fufficient  Advantage 
upon  account  of  Refemblance,  and 
Hiftory  to  keep  down  the  Scale. 

Let  us  now  take  in  the  Argument 
of  Grace,  and  Greatnefs,  and  fee 
what  effedt  that  will  have. 

The  Way  to  determine  Now  is  to 
fix  upon  the  Manner  of  following  the 
Common  Drefs,  whether  it  fhall  be 
With,  or  Without  Improvement,  and 
in  what  Proportion  :  This  being 
done,  Let  That  you  have  fix'd  up- 
on be  compar'd  with  the  Arbitrary, 
Loofe  Drefs  in  Competition  with  It, 
and  fee  if  the  Latter  has  fo  much  the 
Advantage  in  Grace  and  Greatnefs  as 
to  over-balance  what  the  other  had 
when  Thefe  were  not  taken  in  :  If 
it  has,  This  is  to  be  chofen  ,•  if  not, 
the  Common  Drefs. 

O  4  Thus 


(    200    ) 

Thus  I  have  put  the  Matter  into 
the  bed:  Method  I  was  able  in  order 
to  affiftthofe  concerned  to  determine 
forThemfelves,  which  They  can  Beft 
do,  Fancy  having  fo  great  a  Part  in 
the  Affair-  And  fo  much  for  this 
Controverfy. 

Tlierc  is  an  Artificial  Grace  and 
Greatnefs  arifing  from  the  Oppofition  of 
their  Contraries.  As  in  the  Tent  of 
Darius  by  Le  <Brun,  the  Wife  and 
Daughters  of  that  Prince  owe  fome- 
thing  of  their  Beauty,  and  Majefty 
to  the  Hideous  Figures  that  are  about 
them.  But  a  greater  Man  than  Le  $}rw 
feems  to  have  condefcended  to  be 
beholden  to  this  Artifice  in  the  Ban- 
quet of  the  Gods  at  the  Marriage  of 
Cupid  and  Tfyche,  for  Venus  which 
comes  in  Dancing  is  furrounded  with 
Foyles,  as  the  Hercules,  the  Face  of 
his  Lyons  Skin,  Vulcan,  Tan,  and 
the  Mask  in  the  Hand  of  the  Mufe 
next  to  her.  Some  Subjects  carry 
This  Advantage  along  with  them  5  as 
the  Story  of  Andromeda  and  the  Mon- 
ger 5 


(  201   ) 

fter  •  Galatea  with  the  Tritons  $  and 
in  all  fuch  where  the  two  Contraries, 
the  Mafculine,  and  Feminine  Beau- 
ties are  oppos'd,  (as  the  Figures  of 
Hercules  and  Vejanira  for  Inftance]T 
Thefe  mutually  raife,and  ftrengthen 
each  others  Chara&ers.  The  Holy- 
Family  is  alfo  a  very  Advantageous 
Subject  for  the  fame  Reafon.  I  need 
not  enlarge  here  3  the  Artifice  is 
well  known,  and  of  great  Extent  3 
'tis  pra&is'd  by  Poets,  Hiftorians, 
Divines ,  e£r.  as  well  as  Pain- 
ters. 

What  I  have  hitherto  faid  will  be 
of  little  Ufe  to  him  who  does  not 
Fill  and  Supply  bis  Mind  with  Noble 
Images.  A  Painter  fliould  therefore 
read  the  Beft  Books,  fuch  as  Homer, 
Milton,  Virgil,  Spencer,  Tbucydides, 
Ltiy,  (plutarch,  8cc.  but  chiefly  the 
Holy  Scripture  3  where  is  to  be  found 
an  inexhauftible  Spring,  and  the 
greateft  Variety  of  the  moft  Sublime 
Thoughts,  Exprefsd  in  the  nobleft 
Manner  in  the  World.  He  fliould 
1  alfo 


(  wt ) 

alfo  frequent  the  Brightefl  Com- 
pany, and  avoid  the  reft  :  ^afa'elle 
was  perpetually  converfant  with  the 
fineft  Genius's,  and  the  GreateftMen 
at  (Rome  $  and  fuch  as  thefe  were  his 
intimate  Friends.  Oiulio  <I(omano, 
Titian ,  (Rubens y  Van-Dye  h  &c.  to 
name  no  more,  knew  well  how  to 
fet  a  Value  upon  themfelves  in  this 
Particular.  But  the  Works  of  the 
bed  Mafter  in  Painting,  and  Sculp- 
ture  fliould  be  as  a  Painter's  Daily 
Bread,  and  will  afford  him  Pelicious 
Nourishment 

Good  God, what  a  Noble  Spirit  has 
HumaneNature  been  honoured  with! 
Look  upon  what  the  Ancients  have 
done  5  Look  into  the  Gallery  of 
Hampton- Court  5  Turn  over  a  Book 
of  well-chofen  Drawings,  then  will 
it  be  found  that  the  Pfalmift  was  Di* 
vinely  Infpird  when  applying  him- 
felf  to  his  Creator,  he  laid  of  Man, 
Thou  haft  made  him  a  little  lower  than 
the  Angels ,  Tl)ou  haft  crown  d  him  with 
Glory y  and  Honour  !  \£ 


( 203 ; 

I?  I  had  been  (hewn  a  Pi&ure  of 
^{afaelle  (faid  Carlo  Maratti  to  a  Friend 
of  mine)  and  not  having  ever  heard 
of  Him, had  been  told  'twas  the  Work 
of  an  Angel,  I  fliould  have  believ'd 
it.The  fame  Friend  aflur'd  me  he  had 
feen  an  Entire  Book  confiding  of  a- 
bout  two  or  three  hundred  Drawings 
of  Heads  which  the  fame  Carlo  had 
made  after  that  of  the  Antinotis,  and 
which  he  faid  he  had  fele&ed  out  of 
about  ten  times  the  Number  he  had 
drawn  after  that  one  Head  5  but  con- 
fefs'dhe  had  never  been  able  to  reach 
what  he  faw  in  his  Model.  Such 
was  the  Excellency  of  the  Sculptor  ! 
and  fuchthe  Diligence,  Perfeverance, 
and  Modefty  of  Carlo  ! 

The  Ancients  poflefs'd  Both  the 
excellent  Qualities  I  have  been  treat- 
ing of,  among  whom  Jpelles  is  di- 
fhnguifli'd  for  Grace,  (^afa^lle  was 
the  Modern  Jpelles ,  not  however 
without  a  prodigious  Degree  of 
Greatnefs.  His  Style  is  not  Perfectly 

Antique, 


(  204  ) 
Antique,  but  feems  to  be  the  effect 
of  a  Fine  Genius  accomplished  by- 
Study  in  that  excellent  School  i  Tis 
not  Antique,  but  (may  I  dare  to  fay 
it)  'tis  Better,  and  that  by  Choice, 
and  Judgment.  Giulio  Romano  had 
Grace,  and  Greatnefs,  more  upon 
the  Antique  Tafte,  but  not  without  a 
great  Mixture  of  what  is  peculiarly  his 
Own,  and  admirably  Good,  but  ne- 
ver to  be  imitated.  Toljdore  in  his  bed 
things  was  altogether  Antique.  The 
old  Florentine  School  had  a  kind  of 
Greatnefs  that  like  Hercules  in  his 
Cradle  promis'd  Wonders  to  come, 
and  which  was  acomplifh'd  in  a  great 
Meafure  by  Leonardo  da  Vinci 5  (who 
alfo  had  Grace)  but  more  fully,  and 
perfectly  by  Jkficbelangelo  (Buonarota : 
His  Style  is  his  Own,  not  Antique, 
but  He  had  a  fort  of  Greatnefs  in  the 
utmoft  Degree,  which  fometimes 
ran  into  the  Extream  of  Terrible  5 
though  in  many  Inftances  he  has  a 
fine  leafoning  of  Grace.  I  have  a  Wo- 
man's 


(  2G$  ) 
man's  Head  of  him  of  a  Delicacy 
hardly  inferior  to  ^afaelle,  but  re- 
tains the  Greatnefs  which  was  his 
proper  Chara&er.  When  Tarmeggiano 
copy'd  him,  and  flung  in  his  own 
Sweetnefs,They  together  make  a  fine 
Compofition,  of  which  I  have  feve- 
ral  Examples  :  I  do'nt  fay  however 
that  they  are  preferable  to  what  is  en- 
-  tirely  of  Michelangelo,  or  even  to 
what  is  entirely  of  (Parmeggianot  efpeci- 
ally  his  beft  3  but  they  are  as  if  they 
were  of  another  Hand,  of  a  Chara- 
cter between  both  :  For  (Parmeggiano 
was  infinitely  fweet!  Grace  fliines  in 
all  he  touched,  and  a  Greatnefs  fup- 
ports  it,  fo  as  one  would  not  wifh 
him  other  than  he  is  5  His  Style  is 
entirely  his  Own,  not  in  the  leaft 
Modern,  nor  very  much  upon  the 
Antique  :  What  he  did  feems  to  flow 
from  Nature,  and  are  the  Ideas  ©f 
one  in  the  Golden  Age,  or  State  of 
Innocence :  I  have  a  great  many 
Drawings  of  him,  and   but   two  or 

three 


(    206    ) 

three  where  Blood,  or  Death  is  con- 
cerned, and  in  thofe  'tis  evident  he 
did  what  his  Genius  was  not  fit  for. 
(Baccio  Bandinelli  had  a  Great  Style, 
and  fometimes  not  without  Grace. 
Correggio  had  Grace  not  inferior  to 
tParmeggiano,  and  rather  more  Great- 
nefs  5  but  different  in  both  from  Him, 
and  from  the  Antique  :  What  he  had 
was  alfo  his  Own,  and  was  chiefly 
employ'd  on  Religious  Subjefts,  or 
what  had  nothing  Terrible  in  them. 
Titian,  Tintoret,  Paolo  Veroneje,  and 
others  of  the  Venetian  School  have 
Greatnefs,  and  Grace,  but  'tis  not 
Antique  ,  however  'tis  Italian.  An- 
nibale  Carracci  was  rather  Great,  than 
Gentile  •  tho'  he  was  That  too  5  and 
Guido's  Character  is  Grace.  (Rubens 
was  Great,  but-  rais'd  upon  a  F/e- 
mfb  Idea.  Nicholas  Poujjin  was  truly 
Great,  and  Graceful,  and  juftly  ftyl  d 
the  French  (fiafaelle.  Sabator  <%pfas 
Landfcapes  are  Great,  as  thole  of 
Claude  Lorrain  are  Delicate :  Such  is 

the 


(  2°7  ) 

the  Style  of  Filippo  Laura  5  that  of 
the  Borgognone  is  Great.  To  con- 
clude, Fan-Dye,^  had  fomething  of 
both  chefe  good  Qualities,  but  not 
Much,  nor  Always  5  He  generally- 
kept  to  Nature,  chofen  in  ics  beft 
Moments,and  fomething  Pvais'd,and 
Improv  d  3  for  which  reafon  he  is  in 
That  particular,  and  when  he  fell 
not  lower,  the  bed  Model  for  Por- 
trait-Painting, unlefs  we  prefer  a  C/;/- 
m&ra  of  the  Painter,  to  a  True,  or 
at  moil  a  Civil  Reprefentaton  of 
our  Selves,  or  Friends  ;  and  would 
have  a  Cheat  put  upon  Pofterity^  and 
our  Own,  or  Friends  Pvefemblance 
loft,  and  forgotten  for  the  fake  of  it. 
As  in  Realoning  a  Man  ought  not 
to  reft  upon  Authorities,  but  to  have 
recourfe  to  thofe  Principles  on  which 
Thofe  are,  or  ought  to  be  founded, 
fo  to  rely  upon  what  others  have 
done  is  to  be  always  Copying  A 
(painter  therefore  fiouldbaVe  Original  Ideas 
of  Grace,  and  Greatnefs,  taken  from  bis 

Own 


(  208  ) 
Own  Ob/erVation  of  Nature,  under  thfe 
Conduit,  and  Affiftance  however  of 
thofe  who  with  Succefs  have  trod 
the  fame  Path  before  him.  What 
he  fees  Excellent  in  Others  he  muffc 
not  Implicitly  follow,  but  make  his 
Own  by  entering  into  the  Realon  of 
the  thing,  as  thofe  mud  have  done 
who  Originally  produced  that  Excel- 
lence 3  for  fuch  things  happen  not 
by  Chance. 

The  Notions  of  Mankind  vary  in 
relation  to  Beauty,  and  in  fome  par- 
ticulars with  refpeit  to  Magnanimi- 
ty :  It  may  be  worth  a  Painter's  while 
to  obferve  what  were  thofe  the  An- 
cients had  in  thefe  Matters,  and  then 
to  confider  whether  they  agree  with 
the  Prefent  Tafte,  and  if  they  do 
not,  whether  They,  or  We  are  in 
the  Right,  if  it  can  be  determined  by 
Reafon  3  If  it  depends  upon  Fancy 
only,  then  let  him  confider  whether 
the  Prejudices  we  are  apt  to  have  for 
the  Ancients  will  Balance  againft  the 

Opinion 


(    20p  ) 

Opinion  of  the  Prefent  Age.  As  to 
the  Draperies  the  Ancients  mud  be 
fludied  with  Caution,  as  has  been 
already  noted. 

Inftead  of  making  Caricaturaes  of 
Peoples  Faces  (a  Foolifti  Cuftom  of 
Burlefquing  them,  too  much  ufed) 
Painters  fhould  take  a  Face,  and 
make  an  Antique  Medal,  or  Bas-Re- 
lief  of  it,  by  diverting  it  of  its  Mo- 
dern Difguifes,  raifing  the  Air,  and 
the  Features,  and  giving  it  the  Drefs 
of  thofe  Times,  and  fuitable  to  the 
Chara&er  intended.  Our  Nation  is 
allow'd  on  all  hands  to  furnilh  as 
proper  Models  as  any  other  in  the 
World,  with  refpe£t  to  External 
Grace  and  Beauty  :  Nor  perhaps  can 
Ancient  Greece  or  %pme  boaft  of 
Brighter  Characters  than  we  3  Would 
to  God  we  had  not  alfo  as  Great  In- 
ftances  of  the  Contrary  ! 

Laftly,  A  Painter's  Own  Mind  fiould 
have  Grace,  and  Greatnefs^  That  Jhouli 
be  'Beautifully,  and  Nobly  formd* 


r  2i° ) 

So  much  the  rather  thou  Cosleftial  Light 
Shi  fie  Inward,  and  the  Mind  thro' all  her  Powers 
Irradiate,  There  plant  Eyes,  all  Miftfrom  Whence 
Purge,  and  difperfe,  that  I  may  fee,  and  tell 
Of  things  Invifibie  to  Mortal  Sight.  Milton. 

When  the  Mind  enjoys  Tranquil- 
lity, and  Repofe}  when  it  is  Pleas'd 
and  Joyous,  then  is  the  Seafon  for 
Great,  and  Beautiful  Ideas. 

Not  Fright  en' d,  or  AJJjam'd  with  Retrofpect 
To  View  the  Annals  of  a  Chequer' d  Life  $ 
Nor  with  Anxiety  inquifitive 
What  Future  Times,  in  Tins,  or  Other  Worlds 
May  pojjibly  produce  ;  Refign'd  to  Fate, 
Eternal  Re  a f on,  God's  Unerring  Will, 
Directing  All,  Paft,  Prefent,  and  To  come. 


In  Prefent  things 


Enjoying  all  that  is  to  he  Enjoy' d 

(With  unpolluted  Heart,  and  Hands  J  The  reft 

WithPaticnce  hearing  'till there  comes  a  Change : 

For  Good  in  the  Barometer  of  Life 

Afcends,  and  Falls,  nor  ever  Fix'd  remains  : 

But  every  Seafon  has  peculiar  Sweets, 

Or  More,  or  Lefs,  which  he  who  can  extracJ, 

And  Feed  upon  has  learn  d  the  Art  To  Live. 

Content^  believing  all  that  Is,  is  Right, 
The  Will  of  him  who  rules  the  Univerfe ; 
Nor  could  have  been  Prevented,  or  Delay' d. 

Neither 


(211    ) 

Neither  in  vain  Regretting  what  is  Paft, 
Nor  with  Impatience  Wijhingfor  a  Day 
Hid  in  the  Womb  of  time.  - . 

/  live  not  on  To  Morrows :  (Airy  Food  I) 
To  Day  is  Mine,  bat  whofe  They  are  Fate  knows. 

Some  People  may  fancy   'tis  of 
Ufe  to  them   to  Depreciate,  and  be 
out   of  Humour  with  every  thing  5 
'Tis   of  none    to   Painters  :    They 
ought  to  view  all  things  in  the  Beffc 
Light,  and  to  the  greateil  Advantage; 
They   fliould  do  in  Life  as  I  have 
been  faying  they  muft  in  their  Pi- 
ctures 5  not  make  Caricaturaes,  and 
Burlefques  3    not    reprefent    things 
Worfe   than    they  are  3    not   amufe 
themfelves  with  Drollery,  and  Buf- 
foonery 3    but  Raife,  and   Improve 
what  they  can,  and  carry  the  reft  as 
high  as  poffible. 

thee  I  behold^  I  hear  thy  Praifesfung, 
I  find  thy  Will  fulfilled perpetually  -y 
Rejoycing,  and  triumphing  in  my  Joy  ; 
Adoring^  Praifing,  Loving,  Serving  thee. 
As  when  the  Patriarch  in  Vifion  [aw 

P  2  Calefiial 


(    2'2    ) 
Cosleftial  Inhabitants  defcend 
From  Heaven  by  Steps,  and  thitherward  return 
Started  from  Sleep,  and  [uddenly  cry'd  out, 
This  is  the  Gate  of  Heaven  j  I  zv ho  fee, 
Not  Dream  I  fee,  not  An  els,  but  Thyfelf-, 
And  Hear,  not  Dream  I  hear  thy  Praifes  fung  : 
Who  find  thy  Will  is  here  fulfilled,  and  join 
In  Adoration,  Joy,  Obedience,  Love, 
Difcover,  and  Poffefs  a  Heaven  on  Earth. 

Next  to  Genius  and  Induftry,  Vir- 
tue is  the  befl:  Qualification  a  Pain- 
ter can   have  :     This,  as  it  is  truly 
Great,  and  Lovely,  as  it  arifes  from 
the  Wifeft,  and  moft  Noble   Senti- 
ments,   it   produces  Such  3  and    a 
Mind  impregnated  with  Thefe  is  the 
moft  likely  to  Conceive,and  Execute 
what  one  Polluted,  and  Incumbred 
with  Vice  cannot.   A  Virtuous  Man 
has    generally     more   Tranquillity, 
Health,  and  Vigour,  and  conlequent- 
ly  Fewer  Interruptions,  and  Difficul- 
ties, and  makes  the  befl:   Improve- 
ment of  All  his  Time  3  fo  that  the 
Common  Complaint  of  the  Short- 
nels  of  Life,  with  Refped  to  thij  At- 
tainment of  Arts,  and  the  Accom- 
plishment 


(  2I3  ) 

plifliment  of  Great  Defigns,  is  not 
fo  Juft  as  ic  Seems  to  be  3  Tis  Short, 
but  Men  contract  it  by  their  own 
Mifmanagement. 

I  know  it  will  be  laid  that  Great, 
and  Lively  Spirits  are  Naturally  fub- 
je£t  to  violent  Paffions,  and  Appe- 
tites, and  difficult  to  be  kept  in  due 
Bounds :  But  is  not  This  becauie 
there  is  not  yet  Strength  of  Mind 
Enough  ?  And  tho'  there  has  been 
Great  Vicious  Men,  would  they  not 
have  been  Greater  had  they  been 
Virtuous  ?  As  to  Painters,  'tis  true, 
many  of  them  have  been  a  Scandal 
to  their  Profeflion  3  butThefe  are  of 
the  Loweft  Clafs  of  the  Confiderable 
Painters  :  Thofe  whofe  Works  we 
fo  highly  efteem  were  Men  of  Solid 
Sence,  and  Virtue  3  Or  if  fome  of 
them  were  not  free  from  all  Vice, 
their  Faults  were  Such  as  are  the 
mod  Excufable,  Such  as  the  beft 
Minds  are  fufceptible  of  3  This  hin- 
dred  them  not  from  being  Great 
P  3  Men 


(    2I4   ) 

Men  indeed  3  however  'tis  Undeni- 
able, had  they  arriv'd  to  a  Strength 
of  Mind  lb  as  to  be  Virtuous 
Throughout,  they  had  been  Greater 
Painters  than  they  were  3  and  the 
World  would  have  been  better  fur- 
nifhed,  and  more  Enriched,  and 
Adorned  with  their  Works. 

A  Painter  ought  to  have  a  Sweet, 
and  Happy  Turn  of  Mind,  that 
Great,  and  Lovely  Ideas  may  have 
a  Reception  there  3  and  Thefe  en- 
large that  Happinefs  themielves 
were  derived  from  5  they  nourifli 
their  Amiable  Parent,  and  both  mu- 
tually Cherifii  each  other.  Few  other 
Profeffions  have  this  Advantage  3 
Lawyers,  Phyilcians,  and  Divines 
are  frequently  engag'd  in  fuch  Cir- 
cumftances,  which  tho'Cuftom  may 
render  Tolerable,  can  never  be  A- 
greeable  3  And  moreover  have  to  do 
with  Peop:;  too  often  when  they  are 
out  of  Humour  :  Thofe  a  Painter 
has  to    do   withal   arc    always   in 

good 


good  Humour,  or  will  feem  to  be 
fo  5  and  his  Own  Head  is  fill'd  with 
the  Nobleft  Thoughts  of  the  Deity, 
the  braveft  Actions  of  Mankind   in 
all  Ages,  the  Fineffc,  and  mod  Ex- 
alted Ideas  of  Humane  Nature,  and 
he  is  to  obferve  all  the  Beauties  of  the 
Creation,  This  if  he  has  a  true  Titto- 
refqueTzfte  of  Pleafure  will  contribute 
exceedingly  to  produce  this  Happy 
State  of  Mind  which  is  fo  neceffary 
to  him.  How  great  a  Variety  foever 
there    may  be  in  Men's   Taftes  of 
Pleafure,  and  what  Unhappy  Mix- 
tures  foever   they  may  make,  This 
will  be  generally  allow'd  to  be  De- 
lightful. And  there  is  one  Particular 
which  I  will  remark,  becaufe  I  be- 
lieve 'tis  not  commonly  taken    no- 
tice of  5   and    this   is  the  vafl:  Ad- 
vantage   the    Sight    has   above  the 
other  Senfes  with    refped  to  Plea- 
fure 5    Thofe  receive  it,  but  'tis  by 
Starts,  and  Flafhes,  with  long  Infi- 
pid  Intervals,  and  frequently  Worfe5 

P  4  Buc 


(    u6    ) 

But  the  Pleafures  of  the  Eye  are  like 
thofe  of  Heaven,  Perpetual,  and  with- 
out Satiety  3  and  if  Ofifenfive  Obje&s 
appear  we  can  reject  them  in  an  in- 
ftant.  'Tis  true  other  Men  may  See 
as  well  as  a  Painter,  but  not  with 
Such  Eyes  3  a  Man  is  Taught  to  See 
as  well  as  to  Dance,  and  the  Beauties 
of  Nature   open  themfelves  to  our 
Sight  by  little  and  little,  after  a  long 
Pra&icein  the  Art  of  Seeing.  A  judi- 
cious well-inftru£ted  Eye  fees  a  won- 
derful Beauty  in  the  Shapes  and  Co- 
lours of  the  Commoneft  Things,  and 
what  are  comparatively  inconfide- 
rable  3  Nay  fuch  a  one  will  difcover 
fomething  Pleafing  in  what  Another 
Finds  only  Poverty,  or  Deformity  : 
but  the  Sky  alone  is  capable  of  giv- 
ing a  Degree  of  Pleafure  lufficient  to 
Balance  againfta  great  many  of  the 
Inconveniencies,    and     Miferies    of 
Life. 

I  am  very  fenfible  as  all  Created 
Beings  in  the  Univerfe  feek  Pleafure 

as 


f2I7  ) 

as  their  Chiefeft  Good,  There  is  an 
infinite  Variety  of  Taftes  with  rela- 
tion to  it :  Every  Species  has  Some 
peculiar  to  themfelves,  and  Man  is 
in  this  an  Epitome  of  the  Whole  ^ 
There  are   certain  ClafTes  amonoft 
them  who  can  no  more  relifh,  or  en- 
joy, the  Pleafure  of  Others  than  a 
Fifh  can  thofe  of  a  Bird,  or  a   Tv- 
ger  of  a  Lamb  :  An  Enthufiaft  that 
fhuts  himfelf  up  in  a  Monaftery  does 
not  Forfake,  but  Purlue  Pleafure  as 
eagerly  as  a  Debaucbe,  only  Both  re- 
ject what  the  Other  calls   Pleafure, 
but  whichThemfelves5as  their  Minds 
are  conftituted,  cannot   Enjoy,  for 
what  Themfelves  Can  have,  and  re- 
li(h5 

I  will  not  holt  this  matter  to  the  Bran 
^iBradwardine,  and  Holy  Auftin  can, 

Dry  den. 

becaufe  'tis  not  my  prefent  Bufinefs, 
which  is  only  to  oblerve,  That  tho' 
another  Man  may  po(Tibly  defpife 
what  I  have   been  fpeaking  of  as  a 

Delicious 


Delicious  Enjoyment  He  that  is  in- 
capable of  This  kind  of  Pleafure  has 
not  a  Mind  truly  Turn'd  tor  Paine* 
ing- 

But  not  only  that  the  Mind  may 
be  at  Liberty,  and  in  Humour  to 
apply  it  felf  to  the  Fine  Ideas  necef- 
fary  to  Painters,  and  that  it  may  be 
fill  d  with  the  Nobleft,  and  moffc 
Beautiful  Sentiments,  They  fhould 
have  Grace  and  Greatnefs  There  in 
order  to  put  thofe  Properties  into 
their  Works:  For  (as  it  has  been 
obferv'd  by  Others  before  me,  and 
muft  be  true  in  the  main  from  the 
Nature  of  things )  Painters  paint  Thetn- 
felves.  A  Trifling  Spirit  will  naturally 
look  about  for,  and  fix  upon  fome- 
thing  Comical,  and  Foppifli  if  it  be 
to  be  found,  and  will  Imagine  it  if 
it  be  not  $  That  to  Him,  is  what 
Great,  and  Beautiful  is  to  another 
whofe  Mind  has  a  better  turn.  One 
will  overlook,  and  debafe  a  Fine 
Character,  the   other   will  Raife  a 

Mean 


(  2I9  ) 

Mean  one.  T>o  Men  gather  Grapes  of 
Thorns ,  or  Figs  ofThiflles  ?  Suppofe  one 
well  acq  uainced  with  the  fe  veral  Styles 
of  (ftafaelk,  and  Michelangelo,  but  a 
Stranger  to  their  Characters  $  and  lee 
him  be  told  that  one  of  thefe  Artifts 
was  a  Fine  Gentleman, Good-natur'd, 
Prudent,  Modeft,  a  Companion,  and 
Friend  of  the  greateft  Men,  whether 
for  Quality,  or  Wit,  then  at  Q{pme7 
and  a  Favourite  of  Leo  X.  the  Poli- 
teffc  Man  in  the  World  3  and  that  the 
other  was  Rough,  Bold,  Fierce,  <&tv. 
that  He,  and  Julius  II.  (the  mod  Im- 
petuous Spirit  alive)  mutually  Lov'd 
each  other  5  I  fay  let  fuch  a  one  be 
told  this,  it  would  be  impoflible  for 
him  not  to  know  which  was  the 
Work  o^afaelky  and  which  oildlcheU 
angelo.  One  might  make  the  fame 
Experiment  upon  others  with  the 
like  Succefs. 

That  the  Greeks  have  had  a  Beau- 
ty, and  Majefty  in   their  Sculpture, 
and  Painting  beyond  any  other  Na- 
tion 


(  ^o  ) 

tion  is  agreed  on  all  hands  5  The 
Reafon  is  They  Painted,  and  Carv'd 
Themfelves.  When  you  See,  and 
Admire  what  they  have  done  Re- 
member Salamis,  and  Marathon,  where 
they  Fought,  and  Thermopylae,  where 
they  Devoted  themfelves  for  the  Li- 
berty of  their  Countrey  5  Go  Stranger 
tell  the  Lacedemonians  we  lye  here  by 
their  Command  was  written  on  the 
Graves  of  thefe  latter.  When  at  the 
Theatre  in  a  Play  of  JEjchylus  ibme- 
thing  was  faid  which  favour'd  of  Im- 
piety the  whole  Audience  took  Fire, 
and  rofe  at  once,  crying  out  Let  us 
deftroy  the  Reproacher  of  the  Gods : 
Jmynias  his  Brother  immediately 
leap'd  upon  the  Stage,  and  produced 
his  Shoulder  from  whence  he  had 
loft  his  Arm  at  the  Battle  oiSalamls  $ 
alledging  alfo  the  Merit  of  his  other 
Brother  CynAgyrus,  who  at  the  fame 
time  bravely  facrific'd  himfelf  for  his 
Countrey  $  The  People  unanimous- 
ly condemn'd  JEjchylus^  but  gave  his 

Life 


(  zai  ) 

Life  to  his  brother  Jmynias.  Thefe 
were  Greeks  !  Thefe  were  the  People 
who  fliortly  after  carry'd  Painting, 
and  Sculpture  to  fo  great  a  Height  $ 
It  was  fuch  Men  as  Thefe  who  had 
that  prodigious  Grace,  and  Greatnefs 
in  their  Works  which  we  fo  juftly 
admire.  Other  Nations  have  had 
greater  Advantages  than  They,  ex- 
cept in  This,  but  Magnanimity  was 
their  Chara&eriftick. 

The  Ancient  (Romans  fill  the  fe- 
cond  Place  5  Grace,  and  Greatnefs  is 
alfo  in  their  Works,  for  they  were 
a  Brave  People  $  but  they  confefs'd 
the  Superiority  of  the  Other  in  con- 
defcending  to  be  their  Imitators. 

Longinus  fays  the  Iliad  of  Homer  is 
the  Flowing,  and  the  Odyjfes  the  Eb- 
bing of  a  great  Ocean.  The  fame 
may  be  faid  of  the  Ancient,  and  Mo- 
dern Italians. 

O  <Rorne  !  thou  happy  Repofitory 
of  fo  many  Stupendious  Works  of 
Art  which  my  Longing  Eyes  have 

never 


(     222  ) 

never  feen,  nor  fliall  fee,  Thou  were 
Faced  to  be  the  Miftrefs  of  the 
World  !  when  (as  in  the  Natural 
Courfe  of  Sublunary  Things  it  muft 
happen)  Thou  couldft  no  longer 
Support  an  Empire  Rais'd,  and 
Maintained  by  Arms,  Thou  (upon  a 
Foundation  Improbable  enough  at 
firft  fight,  and  without  attentively 
confidering  the  Folly,  Credulity,  and 
Superftition  of  the  Bulk  of  Man- 
kind) haft  Rais'd  Another,  of  a  dif- 
ferent Nature  indeed,  but  of  vaft  Ex- 
tent, and  Power  $  and  Govern'd  at 
Eafe,  and  without  Hazard  :  'Tis  one 
of  the  mod  Amazing  Inftances  of 
Humane  Policy  that  the  World  ever 
faw  !  No  wonder  then  that  as  An- 
cient (Bomey  fo  Modern  Italy,  has  car- 
ry'd  Painting  to  fuch  a  Height. 

Whatever  Degeneracy  may  have 
crept  in  from  Caufes  which  tis  not 
my  prefent  Bufinefs  to  enquire  into, 
No  Nation  under  Heaven  fo  nearly 
refembles  the   Ancient   Greeks,  and 

(Romans 


(  223  ; 

(Romans  as  We.  There  is  a  Haughty 
Courage,  an  Elevation  of  Thought, 
a  Greatnefs  of  Tafte,  a  Love  of  Li- 
berty, a  Simplicity,  and  Honefty  a- 
mong  us,  which  we  inherit  from  our 
Anceftors,  and  which  belong  to  us  as 
Englishmen  5  and  'tis  in  Thefe  this 
Relemblance  confifts.  I  could  ex- 
hibit a  long  Catalogue  of  Soldiers, 
Statefmen,  Orators,  Mathematicians, 
Philofophers,  &c.  and  all  living  in, 
or  near  our  own  Times,  which  are 
Proofs  of  what  I  advance,  and  con- 
fequently  do  Honour  to  OurCoun- 
trey,  and  to  Humane  Nature.  But  as 
I  confine  my  felf  to  Arts,  and  fuch 
as  have  an  Affinity  to  Painting,  and 
moreover  avoid  to  mention  on  this 
Occafion  the  Names  of  any  now  A- 
live  (though  many  of  thofe  I  have 
in  View  wall  immediately  occur  to 
the  Thoughts  of  every  Man)  I  will 
only  inftance  in  Inigo  Jones  for  Archi* 
tetture,  and  Shake/pear,  and  Milton,  the 
one  for   Dramatick,   the  other  for 

Epic 


('"4    ) 

Epic  Poetry,  and  leave  them  to  feat 

themfelves  at  the  Table  of  Fame  a- 
mongft  the  mod  Illuftrious  of  the 
Ancients. 

A  Time  may  come  when  Future 
Writers  may  be  able  to  add  the 
Name  of  an  EngliJJ?  Painter.  But  as 
it  is  in  Nature  where  from  the  Seed 
is  firlt  produc'd  the  Blade,  then  the 
Green  Ear,  and  laftly  the  Ripe  Corn, 
fo  National  Virtues  lprout  up  firft  in 
Lefler  Excellencies,  and  proceed  by 
an  Eafy  Gradation.  Greece,  and  <^ome 
had  not  Painting  and  Sculpture  in 
their  Perfection  till  after  they  had 
exerted  their  Natural  Vigour  in  Lef- 
fer  lnftances.  I  am  no  Prophet  nor 
the  Son  of  a  Prophet  $  But  consi- 
dering the  Neceflary  Connection  of 
Caufes  and  Events,  and  upon  feeing 
fome  Links  of  that  Fatal  Chain,  I 
will  venture  to  pronounce  (as  ex- 
ceedingly Probable)  That  if  ever  the 
Ancient  Great,  and  Beautiful  Tafte 
in  Painting  revives  it  will  be  in  Eng- 
land : 


(  n$  ) 

land:  But  not  till  Englijh  Painters, 
Confcious  of  the  Dignity  of  their 
Countrey,  and  of  their  Profeflion,  re- 
folve  to  do  Honour  to  Both  by  Pie- 
ty, Virtue,  Magnanimity,  Benevo- 
lence, and  Induftry  5  and  a  Con- 
tempt of  every  thing  that  is  really 
Unworthy  of  them. 

And  now  I  cannot  forbear  wifh* 
ing  that  fome  Younger  Painter  than 
my  felf,  and  one  who  has  had  Great- 
er, and  more  EarlyAd vantages  would 
exert  himfelf,  and  pra&ife  the  Mag- 
nanimity I  have  been  recommend- 
ing, in  this  Single  Inftance  of  At- 
tempting, and  Hoping  only  to  equal 
the  greateft  Matters  of  whatfoevet 
Age,  or  Nation.  What  were  They 
which  We  are  not,  or  May  not  be  ? 
What  Helps  had  any  of  Them  which 
We  have  not  ?  Nay  We  have  Several 
which  Some  of  Them  were  deftitute 
of :  I  will  only  mention  One,  and 
that  is  a  very  confiderable  one  j  'Tis 
Our  Religion,  which  has  open'd  a 

Q,  ^  New, 


(  22(5 ; 

New,  and  a  Noble  Scene  of  Things  $ 
we  have  more  Juft,  and  Enlarg'd 
Notions  of  the  Deity,  and  more  ex- 
alted ones  of  Humane  Nature  than 
the  Ancients  could  polfiblv  have  : 
And  as  there  are  fome  Fine  Charact- 
ers peculiar  to  the  Chriftian  Religi- 
on, It  moreover  affords  fome  of  the 
Nobleft  Subje&s  that  ever  were 
thought  of  for  a  Picture- 

Of  the  Subli  M  E. 


-Higher  Argument 


Remains,  fufficient  of  it  felf  to  raife 
Sfbat  Name,  unlefs  an  Age  too  late,  or  Cold 
Climate,  or  Tears  damp  my  intended  Wing 
Leprefs'd,  and  much  it  may  if  all  be  Mine9 
Not  ber's,  who  brings  it  nightly  to  my  Ear. 

Defcend  from  Heav'n  Urania.  Milton. 

THE  Sublime  is  much  talk'd 
of,  but  what  is  meant  by  that 
Term  *  is  not  well  agreed  on  3  for 
which  Reafon,  before  I  make  uie  of 

it, 

t ■ ' ■   ■  ■  ■ 

*  Set  BoileauV  mrkss  Torn.  II. 


r  227  ; 

it,  I  will  take  the  Privilege  that 
every  Man  has  of  explaining  his 
own  Meaning  $  I  will  fay  What  I 
underftand  by  it,  and  Why  I  do  fo, 
and  that  without  entring  into  a  for- 
mal Difpute  upon  any  point  where- 
in I  differ  from  Others  :  And  as  'tis 
chiefly  ufed  with  relation  to  Wri- 
ting, I  will  firft  confider  it  in  Thac 
View* 

By  the  Sublime  in  General  I 
mean  the  moft  Excellent  of  what 
is  Excellent,  as  the  Excellent  is  the 
Beft  of  what  is  Good.  The  Dig- 
nity of  a  Man  confifts  chiefly  in  his 
Capacity  of  Thinking,  and  of  Com- 
municating his  Ideas  to  another  j 
The  Greateft,  and  mofi  Noble  Thoughts, 
Images,  or  Sentiments,  CoriVey'd  to  us  in 
the  Bejl  chofen  Words,  I  take  there- 
fore to  be  the  Perfect  Sublime  in 
Writing  j  the  Admirable,  the  Mar- 
vellous. 

Q.  2  Buc 


C  228  ) 

But  as  there  may  be  Degrees  even 
in  the  Sublime,  fomething  fhort  of 
the  Utmoft  may  be  alfo  Sublime. 

Thought,  and  Language  are  two 
diftindt  Excellencies :  There  are  Few 
that  are  capable  of  adding  Dignity 
to  a  Great  Subject,  or  even  of  doing 
Right  to  Such  a  one  ;  in  Some  Cafes 
None:  The  Bulk  of  Mankind  con- 
ceive not  Greatly,  nor  do  they  know 
how  to  Utter  the  Conceptions  they 
have  to  the  beft  Advantage  $  and 
thofe  that  have  Higher  Capacities 
exert  them  but  Rarely,  and  on  Few 
Occafions :  Hence  it  is  that  we  fo 
juftly  admire  what  is  fo  Excellent, 
and  fo  Uncommon. 

The  Great  manner  of  Thinking 
(as  Thought  in  General)  is  either 
pure  Invention,  or  what  arifes  upon 
Hints  fuggefted  from  without. 

That  in  the  (Beginning  God  Created 
the  Heavens  y  and  the  Earth,  had  been 
a  Noble  Thought  had  it  been  In- 
vention. 


(  229  ) 
vention,  and  More  or  Lefs  So  as 
the  Inventor  had  Underflood  it 
Himfelf :  And  if  he  had  gone  about 
to  Convey  that  Idea  to  Others,  it 
might  have  occafion'd  More  to  Ex- 
plain, and  Illuftrate  It. 

As  this    Original  Thought  was 
convey'd    to  Mofes  by   Infpiration, 
and   to  Us  very  Concifely  by  him, 
(fuppofing  he  had  faid  no  more  of  it 
than  thefe  Words)  though  it  could 
not  but  have  appeared  Great  to  any 
one    that  conceiv'd    Tolerably,  it 
would  have  done  fo  More,  or  Lefs 
according  to  the  different  Capacities 
of  Men,  and  their  feveral  manners 
of  Thinking  $    and    which    would 
have  given  Scope  to  Invention,  tho* 
the    firft   Hint  was  from   Another. 
For  Creation   may  be  conceiv'd  as 
the  producing  of  this  Globe,  and  its 
Inhabitants,  and  of  the  Sun,  Moon, 
and    Stars,   and   that   out   of   No. 
thing  5  Or  as  the  Formation  of  thefe 
Things  from  a  Chaos 5  Or  as  the 
Q.  3  Original 


(  ^3°  ) 

Original  of  Univerfal  Matter  $  Or 
Laftly,  as  *  together  with  That,  Mo- 
dify'd  as  we  fee  it,  of  all  Spiritual 
Beings  $  that  is,  of  all  Sorts  of 
Exiftences  whatfoever,  God  him- 
felf  excepted,  who  muft  be  con- 
ceived to  be  Perfedt,  and  Happy, 
tho'  Alone  exifting  Eternal  Ages 
before  this  great  Revolution. 

To  be  Sublime  the  Thought 
muft  be  Great  :  What  is  Mean,  and 
Trifling  is  Incapable  of  it :  There 
muft  be  Something  that  Fills  the 
Mind,  and  that  with  Dignity. 

And 


*  God  /pake,  and  Angels^  and  Archangels  werey 
And  Spirits  Immortal  firft  began  to  Be  $ 
All  but  Him/elf,  He  ever  Liv'd,  and  Mitft9 
In  full  Perfections  Happy  tho'  Alone. 
God  /pake,    the  void  Immenfe  was  futty  and 

U  or Ids , 
And  Peopled  Worlds  Innumerable  jhone  j 
ifat .  re^  tho'  Un exifting  heard  him  call, 
1 .  ng%  L  ife,  Subftance^  Form,  received  with  Joy, 
S       Moment  was  Not,  and  this  Moment  JVasy 
And  God  was  All  in  All. 


(  ni ) 

And  'tis  not  Neccflary  that  fuch 
Thoughts  are  ftri&ly  Juft,  and  Phi- 
lofophical  in  all  Cafes :  That  of  the 
Creation  I  have  been  fpeaking  of, 
as  tis  Great  in  what  Senfe  foever  'tis 
underftood,  though  the  Different 
Senfes  are  not  Equally  fo,  yet  Any 
of  them  may  be  Sublime,  notwith- 
ftanding  the  Old  Maxim,  From  No- 
thing.  Nothing,  fince  if  it  were  True, 
it  is  not  Obvious  and  well  Known. 
So  all  we  can  fay  of  God  is  Infinitely 
Abort  of  what  he  is  j  But  the  Utmoft 
that  can  be  faid,  even  that  (Compa- 
ratively) Low  Idea  of  God,  as  it  is 
the  Beft  that  can  be  had  of  that  moft 
Sublime  Being,  or  rather  the  Only 
Sublime  one  when  compared  with 
All  others,  muft  be  efteem'd  Sub- 
lime. 

But  tho*  Greatnefs  is  Efiential, 
and  Truth  is  not,  a  Great,  and  Ufe- 
ful  Truth  is  preferable  to  what  is 
but  Equally  Great,  and  either  not 
True,  or  not  of  Ufe  :  A  Great  Idea 

.0.4  of 


(  232 ; 

of  the  Power  of  God  may  be  Sub- 
lime   as  well    as    another   of    his 
Goodnefs,  but  the  Latter  will  have 
a  Beauty  in  it  to  Us  which  is  want- 
ing in  the   Former.    Tims  faith  the 
High  and  Lofty  one  that  inhabiteth  Eter* 
nity?  whoje  Name   is  Holy,  I  dwell  in 
the  High,  and  Holy  (place  with  him  alfo 
that  is  of  a  Contrite,  and  Humble  Spirit , 
to    revive    the    Spirit  of  the    Hum- 
ble, and  to  revive  the  Heart  of  the  Con* 
triu  ones,  would  therefore  be  prefe- 
rable upon  That  account  to  Let  there 
be  Light,  and  there  was  Light,  if  they 
were  Otherwife  Equal. 

We  know  fo  litcie  of  what  is 
poffible  to  be,  even  on  our  own 
Globe,  that  there  is  a  great  Latitude 
as  to  Images,  even  when  what  is  faid 
is  to  be  Laterally  taken  j  as  for  Hy- 
perboles, and  other  Figures,  every 
one  knows  they  give  Scope  enough ; 
however,  in  eicher  Cafe,  what  is 
Abfurd,  or  Ridiculous  muft  be  a- 
voided.    But  the  Sentiments  muft 

be 


(  233  ) 

be  Juft,  and  Rational    to    be    Su- 
blime 5  Thus  far  Truth  is  Neceflary, 
or  at  leaft  Natural  Probability  $  the 
Sentiments  mud  be  Such  as  'tis  fup- 
pofed  a  Man  might  have,  and  if  he 
had  he  would   not  be  Extravagant, 
and  Romantick  3  whether  ever  any 
Man  had   really  fuch,   or    at  leaft 
Pra&is'd  accordingly,  is  not  fo  ma- 
terial.   That  which  they  fay  is  im- 
puted to  St.  Jugufline,  if  /  was  Lord 
God,  and  He  Bijhop  of  Hippo,  /  would 
become  Bifiop  of  Hippo  that  He  might 
be  Lord  God,  is  a  Profane  Rant,  not 
a  Sublime  Sentiment.     The  Father 
of  the  Horatij  in    the   Tragedy  of 
Cornetlle  has  carry 'd  Magnanimity  to 
the  Utmoft  Height  5  when  he  was 
told  two  of  his  Sons  were  kill  d,  and 
the  other  Fled^  he   regrets  not   the 
Lofs  of  the  Two,  but  all  his  Con- 
cern is  for  the  Shameful  Flight  of  the 
Other  3  One  againfi  Three  !  What  would 
you  haVe  had  him  done  f  Dyd.    Perhaps 
Jdudibras  (aid  a  Wifer  thing,  tho'  as 

'tis 


(  234  ) 

'tis  Ludicroufly  fpoken  it  could  not 
have  been  Sublime  had  the  Senti- 
ment been  Great,  as  well  as  Juft: 

He  that  runs  may  fight  again^ 
Which  he  can  never  do  thafs  Slain. 

But  this  of  the  Old  Man  is  truly 
Sublime  tho5  upon  the  very  Bor- 
ders of  Extravagance,  for  the  Sen- 
timent is  Noble  3  and  tho*  it  were 
Really  Unreafonable,  the  Manners 
of  the  Antient  Romans  would  juftify 
it  3  Notwichanding  all  which,  $o*- 
lean,  where  I  find  this  Paflage  has  fur- 
nifh'd  me  with  another  more  Beau- 
tiful, becaufe  as  Great,  and  More 
Rational :  He  cites  it  from  the  Jtha- 
liah  of  Racine  as  an  Jnftance  of  the 
Perfect  Sublime  in  all  refpe&s.  Ab- 
ner  reprefents  to  the  High  Prieft  that 
Jthaltab  was  enraged  againit  Him- 
felf,  and  all  the  Levitical  Order  j 
His  Anfwer  is 

*  Celui 


(23*  ) 

*  Celui  qui  met  un  frein  &  la  fureur  des  flots 
Sait  auffi  des  mechans  arret er  les  Complots 
Soumis  avec  refpeCi  a  fa  volonts  Sainte^ 
Je  crains  Dieu9  cher  Abner,    &  n'ai  point 
d? autre  crainte. 

Suppofing  an  Equal  degree  of 
Greatnefs,  where  there  is  mod:  Sol> 
dity  there  is  moft  Beauty,  'tis  the 
moft  Sublime. 

As  the  Thoughts,  fo  the  Lan- 
guage of  the  Sublime  muft  be  the 
moft  Excellent  $  What  That  is  is  the 
Queftion :  Whether  it  be  confin'd  to 
the  Florid,  to  Magnificent,  and  So- 
norious  Words,  Tours,  Figures,  &c. 
or  whether  Brevity,  Simplicity,  or 
even  Common,  and  Low  Words  are 
that  the  Beft  on  fome  Occafions, 

Poetry,  Hiftory ,  Declamation,  <&r. 
have  their  peculiar  Styles,  but  the 
Sublime  (as  our  High  Court  of  Par- 
liament is  not  under  the  Reftri&ions 

which 


*  He  who  the  Ocean's  Violence  reftrains, 
Within  due  Bounds  Men  s  IVtckednefs  contains 
IV hat  God  inflicts  with  Reverence  J  bear. 
And  fearing  Him  can  have  no  other  Fear. 


(  230 

which   Inferiour  Courts  are)  is  not 

limited  to  any  particular  Style  : 
The  Beft  is  the  Sublime  Language, 
and  that  is  Beft  that  fets  the  Idea  in 
the  Strongeft  Light  5  That  is  the 
great  End,  and  life  of  Words  $  but  if 
thofe  that  pleafe  the  Ear  do  Equally 
ferve  that  Purpofe,  no  doubt  they 
are  preferable,  but  not  otherwife. 
Plain  and  Common  Words  paint  a 
great  Image  fometimes  ftronger  than 
any  Other. 


We  are  fucb  Stuff 


As  Dreams  are  made  on,  and  our  Little  Life 
Is  rounded  with  a  Sleep. 

*    Shakefpear'j  Tempeft. 


To  me  comes  a  Creature, 


Sometimes  her  Head  on  one  Side,  fome  another, 

J  never  f aw  a  VeJJel  of  like  Sorrow 

Sofilfd,  and  fo  becoming  :  in  pure  white  Robes, 

Like  very  Sanctity  fbe  did  approach 

My  Cabin  where  I  lay  -,  thrice  bow*d  before  me, 

And Xgafping  to  begin  fome  Speech)  her  Eyes 

Became  two  Spouts  — ■ 


What  is  Some-body  ?  What  is  No-body  ?  Man 
is  the  Dream  of  a  Shadow. 

Pindar. 


(  i-V  ) 

Andfo  with  Shrieks. 


She  melted  into  Air- 

The  Winter's  Talc. 

And  more  than  Eccho  talked  along  the  WaUs. 

Pope'i  Abelard. 

Oh  now  does  Death  line  his  dead  Chaps  with 

Steel 
*the  Swords  of  Soldiers  are  histfeethjois  P  hangs. 
And  now  he  Feafts  mouthing  the  Flejh  of  Men 
In  Undetermined  Differences  of  Kings. 

King  John. 

Low  Language  may  fomecimes 
debafe  the  Idea,  and  draw  down 
the  Mind  from  its  due  pitch,  but 
That  being  avoided  the  Sublime 
may  come  to  us  by  that  mean  Voi- 
ture^tho.  Image  may  have  more  Force 
than  when  defcrib'd  in  Greater 
Words :  The  Spouts  which  the  Eyes 
of  the  Ghoft  in  Shakefpear  are  faid  to 
be,  are  Overiook'd,  by  the  Mind  s 
being  fili'd  with  the  Idea  of  theGufli 
of  Tears  pouring  down  $  the  Great 
Image  bears  fo  ftrongly  upon  us, 
as  to  drive  out  the  Other  3  But 
if  thefe  Lyes  had  been  compar'd 
to   Rivers,    Catara&s,  or   Seas,     it 

would 


r  238 ) 

would  not  have  Touched  like  thefe 
Spouts, 

Simplicity, and  Brevity,  even  One 
word  has  fometimes  more  Force, 
and  Beauty  than  the  moft  Mag* 
nificent,  and  Sonorious  Language, 
and  the  moft  Harmonious  Periods. 

The  Laconic^  Anfwer  of  the  Fa- 
ther of  the  Horatij  I  mention'd  juft 
now  Doubles  the  Force  of  the  Great 
Sentiment ;  That  Single  Word  is  a 
Strong,  and  Mafterly  touch  of  the 
Pencil  which  paints  the  Mind  Refo- 
lute,  and  Determined,  better  than 
the  Fineft  Speech  the  Poet  could 
have  invented. 

Let  there  be  Light,  and  there  was 
Light,  confiderd  only  as  an  Hiftori- 
cal  Account  of  That  part  of  the 
Creation  admirably  defcribes  the 
thing,  fuppohng  the  Change  from 
Darknefs  was  in  an  Inftant  5  More 
Words  would  have  fpoil'd  the 
Image.     Milton    is    more   Diffus'd, 

but 


( 239 ; 

but  then  he  paints  not  the  Same 
thing,  'tis  a  very  Different  Im  ige  j 
the  Light  according  to  Him  came 
on  Slowly. 

Let  there  be  Light,  faid  God,  and  forthwith 

Light 
Btherial,firft  of  things,  quinte (fence  pure 
Sprung  from  the  Deep,  and  from  her  Native 

Eaft 
To  journey  thro*  the  Airy  Gloom  began, 
Sphered  in  a  radiant  Cloud,  for  yet  the  Sun 
Was  not ;  Jhe  in  a  cloudy  Tabernacle 
Sojourn' d  the  while 

Here  the  Slow  Defcription  paints 
the  Motion  of  the  Light  as  of  a  Va- 
pour exhal'd  from  the  Earth,  and 
rifing,  and  increafing  by  Little,  and 
Little,  'tis  as  the  Dawning  of  the 
Day  behind  the  Hills  $  That  of  Mofes 
is  Lightning,  or  a  Magazin  that  has 
taken  fire  on  a  fudden,  it  Flaflies  in 
your  Face  as  you  read. 

But  this  is  the  leaft  important 
Image  in  the  Infpired  Writer,  and 
the  leaft  inftance  of  the  Concifenefs 
of  his  Style  in  this  Place,  for  what  is 

1m- 


(  24C3    ) 

Imply'd  is  a  vaft  Idea  of  the  Power 
of  God,  Whdfe  Word  in  an  Inftant: 
produced  fo  Noble,  and  follfeful  a 
Creature  as  Light  3  The  Words  I  have 
ufed,  or  much  Better,  the  Beft  that 
could  have  been  chofcn,  could  not 
have  ftruck  the  Imagination  fo 
Strongly  as  this  Hint  has  done; 

This  way  of  exprefling  a  thing 
not  Directly,  but  by  a  Tour,  is  very 
Poetical,  and  Sublime.  I  will  give 
another  Inftance  of  it.  How  'Beauti- 
ful upon  the  Mountains  are  the  Feet  of 
him  that  brings  glad  Tidings  !  The 
Image  here  given  is  of  no  Confe- 
rence 5  what  is  intended  is  a  Dry 
Precept  3  Take  care  to  be  a  Meffenger 
of  Good  News  only  if  you  would  be  ac- 
ceptable 5  But  This  way  of  giving  ic 
gratifies  the  Mind  with  a  Great,  and 
Pleafing  Image,  and  no  lels  enriches 
it  with  a  moft  "llieful  Inftru&ion. 

That  the  Florid,  Poetick,  or  He- 
roick  Style  has  alio  its  Beauties,  is 
fo  far  from  being  doubted,  that  Some 

have 


(  241  ) 
have  confin'd  Sublimity  to  It  only  5 
and  when  it  is  Suftain'd  by  a  Great 
Thought,  and  Beft  conveys  That, 
and  fo  ferves  Both  purpofes,  life, 
and  Delight,  'tis  then  preferable, 
never  Elfe ;  Apply  it  to  Non-fenfe 
'tis  Naufeous  3  to  a  Low  Trivial 
Thought  'tis  fo  far  from  Railing 
it  that  it  makes  it  Ridiculous  3  or  he 
that  reads  is  fo  if  he  is  Cheated  by 
it,  and  fancies  the  thing  has  more 
Senfe  in  it  than  it  really  has,  of 
then  it  would  have  appeared  to  have 
had  if  it  had  not  been  Trick'd  up 
with  thofe  improper  Ornaments. 
Nay  when  'tis  ufed  to  Convey  a 
Great  Idea,  and  More  is  done  than 
is  Neceflary  to  that  End  'tis  a  De- 
feat, not  a  Beauty  :  For  even  in  This 
Style  too  great  a  Latitude  muffc  not 
be  given  to  the  Fancy  5  And  tho'  the 
Amplifications  fpread  themfelves  all 
around,  each  of  them  in  particular 
fliould  be  form'd  as  Concifely  as  the 
Nature  of  them  will  admit  of. 

R  Iti 


f  24.2  ; 

In  Milton  s  Defcription  of  the  De- 
vil, and  his  Hoft  or  Fallen  Angels, 
there  is  a  profufion  of  Ornament, 
particularly  in  Similes,  but  in  each 
ot  them  there  is  a  great  Oeconomy 
fhewn  in  the  Language,  not  a  Word 
but  is  to  the  purpofe. 


He  above  the  reft 


In  Shape,  and  Gefture  proudly  eminent 
Stood  like  a  Power  -3  his  Form  had  yet  not  loft 
All  her  Original  Brightnefs,  nor  appea'rd 
Lefs  than  Archangel  ruin'd,  and  th*  Excefs 
Of  Glory  obfcurd  :  As  when  the  Sun  new  ris'n 
Looks  thro'  the  Horizontal  Mifty  Air 
Shorn  of  his  Beams  ;  or  from  behind  the  Moon 
In  dim  Eclypfe  Difaftrous  Twilight  fheds 
On  half  the  Nations,  and  with  fear  of  Change 
Perplexes  Monarch s>  Dark'n'dfo,  yetftoone 
Above  them  all  th3  Archangel :  but  his  Face 
Deep  Scars  of  Thunder  had  intrenched,  and  Gar e 
Sate  on  his  faded  Cheek,  but  under  Brows 
Of '  daunt  lefs  Courage,  and  confide  rate  Fr'  fe 
Waiting  Revenge  $  Cruel  his  Eye,  hut  cap 
Signs  ofRemorfe,  and  Pafflon  to  behold 
The  Fellows  of  hie  Crime,  the  Followers  rather 
QFar  other  once  beheld  in  Blifs)  condemn  d 
For  ever  now  to  have  their  Lot  in  Pain, 
Millions  of  Spirits  for  his  Fault  amerft 
Of  Heaven,  and  from  eternal  Splendors  flung 
For  his  Revolt,  yet  Faithful  how  they  flood 
Their  Glory  withered.  As  when  Heaven's  Fire 

Hath 


C  243  ) 

Hath  fcatVd  the  Foreft  Oaks,  or  Mountain 

Pines, 
With  finged  fop  their  ft ately  Growth ,  the?  bare, 
Stands  on  the  blafted  Heath. 

More  than  this  had  been  too 
much.  There  is  no  fuch  Danger  in 
what  follows,  'tis  the  Description  of 
the  Second  Perfon  in  the  Trinity, 
coming  with  his  Celeftial  Atten- 
dants 

•_ — w — to  Create  New  Worlds. 

On  Heavenly  Ground  they  flood,  and  from  the 

Shore 
*fhey  viewed  the  Vaft,  immeafurable  Abyfs 
Outragious  as  a  Sea,  dark,  waftful,  wild, 
Up  from  the  Bottom  turn  d  by  furious  Winds, 
And  Surging  Waves  as  Mountains  to  affault 
Heav'n's  Height h,  and  with  the  Centre  mix  the 

Pole  : 
Silence  ye  troubled  Waves,  and  thou  Deep,  peace % 
Said  then  th3  Omni  fie  Word,  your  Difcord  end. 
Nor  ft  aid)  but  on  the  Wings  of  Cherubim 
Uplifted,  in  Paternal  Glory  rode 
Far  into  Chaos,  and  the  World  Unborn  j 
For  Chaos  heard  his  Voice. 

I  have  not  given  thefe  Specimens 

of  all  the  Several  Styles  as  proofs 

that  Each,  or  Any  of  them  are  the 

K  2  Language 


(  244  ) 

Language  of  the  Sublime,  for  That 
would  be  begging  the  Quefticn,  it 
not  being  prov'd  that  thofe  Paflages 
are  Such  3  On   the  contrary  if  any 
Style  is   a   Bar  to  Sublimity  where 
That   is    found  the  Paflage   cannot 
be  Sublime  3  But   I   have  produc'd 
Thefe   to  fhew  that  any  of  the   fe- 
veral  Styles  may  be  Beft  on   fome 
Occafions  3  and  if  That  appear,  fure 
it  will  not  be  faid  that   a    Worfe  is 
the  only  Sublime,  and  that  meerly 
for  the  lake  of  the  Sound.  The  Sub- 
limity of  thofe  feveral  Styles  is  then 
eftablifti'd.  And  this  will  prove  that 
thofe  Paflages  are  alfo    Sublime    if 
there  was  no  other  Objection  to  their 
Sublimity  but  the  Style,  tho'  it  was 
not  what  I  chiefly  intended. 

The  only  Reafons  that  can  be 
given  for  a  peculiarity  of  Style  in  the 
Sublime  are,  that  as  the  Thought 
muft  be  Great,  the  Language  muft 
be  fo  too  as  beft  expreffing  fuch 
Thought  3  and  becaufe  the  Mufick 

of 


(  245  ) 

of  the  Words  ferve  to  the  fame  pur 
pofe,  and  moreover  Pleafe.  I  own  all 
this  is  Generally  true :  Why  do  we 
ufe  the  Term  Sublime,  and  not  the 
Very  {Beft,  both  which  exprefs  the 
fame  thing,  only  that  One  Raifes, 
and  the  Other  Deprefles  the  Idea  ? 
But  I  deny  that  'tis  Always  thus  $ 
and  only  contend  that  when  Low, 
Common  Words,  and  a  plain  Style 
Belt  ferves  the  main  end  of  Lan- 
guage,'tis  Then,  and  only  Then  the 
Sublime  Style.  And  when  this  hap- 
pens the  Pleafure  that  is  wanting 
in  the  Sound  is  abundantly  recom- 
pense by  Obferving  the  Judg- 
ment of  him  who  made  fo  wife  a 
Choice. 

There  is  a  Beauty  in  Brevity,  and 
Simplicity  which  fufficiently  com- 
penfates  for  what  it  wants  5  the 
Mind  is  fix'd,  as  it  were,  to  a  point, 
and  to  the  Senfe  3  whereas  'tis  apt 
to  be  diflipated  by  the  Allurements 
R  3  of 


( *4« ) 

of  a  Florid  Style  5  and  call'd  off  to 
the  Letter  Beauties  that  enter  no 
deeper  than  the  Ear. 

Longinus  has  furnifh'd  us  with  a 
Proof  of  the  Advantage  that  Simpli- 
city has  above  Ornament  in  his  Ac- 
count of  the  famous  Text  oiMofes: 
Whether  he  never  faw  a  true  Copy, 
or  that  he  has  encheri  upon  it,  He 
puts  it  thus  :  And  God /aid,  What  ?  Let 
there  be  Light,  and  there  was  Light. 
This  particle,  What)  feems  to  have 
been  a  Flower  ftuck  in  by  fome  Rhe- 
torician, and  that  to  awaken  the 
Attention  ;  And  fo  it  might  have 
been  apply 'd  very  juftly  when  One 
of  an  Inferiour  Character  had  fpoke  5 
But  when  'tis  faid  God  fpake  'tis 
enough  $  and  to  fuppofe  any  thing 
elfe  neceflary  is  to  deprefs  the  Idea 
of  the  Speaker. 

Having  thus  Explained,  and  as 
well  as  I  could  Juftify'd  my  Defini- 
tion, it  appears  that  my  Notion  of 
1  the 


(  H7  ) 

the  Sublime  differs  from  that  of 
t  Some  Others  :  I  confine  it  to  Senfe, 
and  give  a  Latitude  as  to  the  Style  $ 
They  are  for  a  certain  Style,  and  al- 
low That  a  feparate  Sublimity, 
whatever  the  Thought  be  :  We  alio 
differ  in  the  Way  of  Supporting  our 
feveral  Notions  5  I  have  built  Only 
on  Reafon. 

1  confefs  after  all  it  cannot  be  faid 
with  Certainty  what  Is,  and  what  is 
not  Sublime,  becaufe  it  cannot  be 
faid  in  all  Cafes  what  Thought  is  of 
that  Supream  Excellence,  and  that 
Such,  or  Such  a  Way  of  Expreffmg 
it  is  Beft  3  That  mull  be? judged  of  by 
every  one  for  Himfelf,  as  on  many 
other  more  Important  occafions$  But 
what  I  have  done  may  perhaps  help 
R  4  to 

t  See  Longinus,  Chap.  32,  &c.    Boileau\r 

Definition  of  the  Sublime  in  his  12th  Critical 
Reflection  on  Longinus.  Lijfertation  of  Mr. 
Huet  and  le  Clerc  againfl  Boileau,  &c.  Stho* 
to  fay  the  tfruth  the  two  firft  of  thefe  in  the 
places  here  cited  fpeak  contrary  to  what  is  the 
General  tenour  of  their  feveral  Difconrfes. 


( «48 ) 

to  clear  that  matter,  at  leaft  it  has 
{hewn  what  I  mean  by  the  Term, 
and  fo  prepar'd  my  way  to  what  I 
chiefly  intended,  which  was  to  fpeak 
of  the  Sublime  in  Painting,  The 
Term  indeed  is  not  fo  Generally  ap- 
ply'd  to  That  Art,  but  would  have 
been  had  it  been  fo  Generally  Un- 
derftood,  and  fo  much  treated  on  as 
Writing  :  For  certainly  the  Supream 
Excellence  in  Painting  is  As  worthy 
of  that  Diftin£tion$  and  More  fo, 
as  employing  More  of  the  Faculties 
peculiar  to  the  Nobleft  Creature  we 
are  acquainted  with. 

And  here  I  take  the  Sublime  to 
be  the  Greateft,  and  mofi  Beautiful  Ideas, 
whether  Corporeal,  or  not,  conVeyd  to 
us  the  mojl  Advantageoufly. 

By  Beauty  I  do  not  mean  that  of 
Form,  or  Colour,  Copy'd  from 
what  the  Painter  kes  $  Thefe  being 
never  fo  well  Imitated,  I  take  not 
to  be  Sublime,  becaufe  Thefe  require 
little  more  than  an  Eye,  and  Hand, 

4nd 


(  H9  ) 

and  Practice.    An  Exalted    Idea  of 
Colour  in  a  Humane  Face,  or  Fi- 
gure  might  be  judg'd  to   be   Sub- 
lime, could  That  be  had,  and  con- 
vey'd  to  Us,  as  I  think  it   cannot, 
fince  even  Nature  has  not  yet  been 
Equall'd   by  the    Beft  Colourifts  • 
Here  {he  keeps   Art  at  a  Diftance 
whatever  Courtfhip  it  has  made  to 
her.  In  Forms  'tis  Otherwife  as  we 
find  in  the  Antique  Statues,  which 
therefore  I  allow  to  have  a  Subli- 
mity in  them  :  And  iliould  do  the 
fame  in  regard  to  the  fame  Kind,  and 
Degree  of  Beauty   if  it  were  to  be 
found  in  any  Pidture,  as    I  believe 
it  is  not.    Tho'  in  Pictures  is  ken  a 
Grace,  and  Greatnefs,  whether  from 
the  Attitude,  or  Air  of  the  Whole, 
or  the  Head  only,  that  may  juftly 
be  Efteem'd  Sublime, 

'Tis  to  thefe  Properties  therefore  as 
alfo  to  the  Invention,  Expreffion  and 
Compofition,  that  I  confine  the  Sub- 
lime in  Painting,  and  that  as  they  are 
found  inHiftoriesand|Portraits.' 

If 


(  2^0  ) 
If  the  Story,  Sublime  in  it  Self, 
lofes  nothing  of  its  own  Dignity 
under  the  Painter's  Hand  3  Or  if  'tis 
Rais'd,  and  Improved,  which  it  can- 
not be  if  the  Airs  of  the  Heads, 
and  Attitudes  of  the  Figures  are  not 
conformable  to  the  Greatnefs  of  the 
Subject:  If  Expedients,  and  Inci- 
dents are  flung  in,  that  difcover  an 
Elevation  of  Thought  in  the  Ma- 
tter, And  all  is  Artfully  convey'd 
to  us,  whetherin  a  Sketch,  or  Draw- 
ing, or  in  a  Finifh'd  Pi&ure.  This 
I  efteem  Sublimity  in  Painting.  Nor 
lcfs  fo,  if  a  Noble  Character  is  Giv- 
en, or  Improv'd  3  a  Character  of 
Wifdom,  Goodnefs,  Magnanimity, 
or  whatever  Other  Vertues,  or  Ex- 
cellencies 3  and  that  together  with  a 
Juft  and  Proper  Refemblance.  But 
a  Low  Subject,  and  a  Mean  Cha- 
racter are  Incapable  of  Sublimity  3 
As  is  the  Beft  Compofition  when 
employ 'd  on  Such. 

Whea 


(*5«    ) 

When  one  fpeaks  of  the  Sublime 
?n  Writing,  the  Inftance  proper  to 
Illuftrate,  and  Explain  what  is  faid 
concerning  it  may  be  fet  before 
your  Eyes,  and  that  without  any 
Diminution  of  their  Original  Luftre. 
Painting  has  not  this  Advantage  j 
Much  of  the  Beauty  will  be  loft 
in  the  Defcription  how  Artful  fo- 
ever  3  As  who  can  defcribe  the  Air 
of  the  Head,  whether  as  to  its  ge- 
neral Chara&er  of  Grace,  or  Dig- 
nity, or  thofe  particular  Ones  of 
Wifdom,  Goodnefs,  Lovelinefs,  or 
what  are  the  eflfedls  of  any  Paflion, 
or  Emotion  of  Soul  !  Who  can  by 
Words  {hew  what  (fiafaelte,  Guido,  or 
Vandyck  has  done  with  their  Pencils  ! 
I  fliould  for  this  reafon  have  been 
fparing  of  Examples,  if  I  had  not 
already  given  many  for  other  Pur-> 
pofes,  but  which  are  alfo  Inftances 
of  the  Sublime  in  Painting,  and 
which  are  fcatter'd  up  and  down 
throughout     all    I    have     Written 


on 


(2-52   ) 

on  this  Amiable  Subject:  But  One, 
or  Two  I  will  add  in  This  place.  T  he 
Firfl  (hall  be   from  (Rembrandt  $  and 
furely  he  has  given  Us  fuch  an  Idea 
of  a  Death-Bed  in  one  Quarter  of  a 
Sheet  of  Paper  in  twoF^g  ; :  Co  with  few 
Jccompagnements,  and   in  Clair  Ob/cure 
only,  that  the  mod  Eloquent  Prea- 
cher cannot  paint  it  fo  ftrongly  by 
the  moft  Elaborate  Difcourfe  5  I  do 
not  pretend  to  Defcribe  it,  it  muft 
be  Seen  :  I  will  however  tell  what  the 
Figures,   and  the  reft  are.    An  Old 
Man  is  lying  on  his  Bed,  juft  ready 
to  Expire  5     this   Bed    has  a   plain 
Curtain,  and  a  Lamp  hanging  over 
it,   for  'tis  in  a  Little  fort  of  an  Al- 
cove, Dark   Otherwife,   though  'tis 
Bright  Day  in  the  next  Room,  and 
which  is  neareft  the  Eye,  There  the 
Son   of  this   Dying  Old  Man  is  at 
Prayers.     O    God  1     What    is  this 
World  1    Life    partes  away   like    a 
Tale  that  is  Old.  All   is  over  with 
this  Man,  and  there  is  fuch  an  Ex* 

preffion 


(253  ) 

preflion  in  this  Dull  Lamp-Light 
at  Noon-Day,  fuch  a  Touching 
Solemnity,  and  Repofe  that  thefe 
Equal  any  thing  in  the  Airs , 
and  Attitudes  of  the  Figures, 
which  have  the  Utmoft  Excellency 
that  I  think  I  ever  faw,  or  can 
conceive  is  poffible  to  be  Ima- 
gined. 

?Tis  a  Drawing,  I  have  it.  And 
here  is  an  Inftance  of  an  Important 
Subjedt,  Imprefs'd  upon  our  Minds 
by  fuch  Expedients,  and  Incidents  as 
difplay  an  Elevation  of  Thought, 
and  fine  Invention  5  and  all  this 
with  the  Utmoft  Art,  and  with  the 
greateft  Simplicity;  That  being  more 
Apt,  at  leaft  in  this  Cafe,  than  any 
Embellifhment  whatfoever. 

The  other  Inftance  I  promised 
{hall  be  from  Federico  Zuccaro  5  He 
has  made  an  Annunciation,  fo  as  to 
give  luch  an  Idea  as  we  ought  to 
have  of  that  Amazing  Event,  The 
Angel, and  Virgin  have  nothing  par- 
ticularly 


r  254  j 

ticularly  remarkable  3  but  Above  is 
God  the  Father,  and  the  Holy  Dove 
with  a  Vaft  Heaven  where  are  Innu- 
merable Angels  Adoring,  Rejoycing^ 
<Csrc.  On  each  Side  fit  the  Prophets 
with  Cartells  on  which  are  written 
their  Predictions  of  the  Miracu- 
lous Incarnation  of  the  Son  of  God  5 
to  all  which  are  added  little  Em- 
blems relating  to  the  Blefled  Vir- 
gin. 

I  am  perhaps  too  much  Preju- 
diced in  favour  of  Painting,  but 
however  not  fo  much  but  that  I  am 
ready  to  acknowledge  that  we  have 
Few  Inftances,  if  Any  of  the  Perfect 
Sublime ,  that  is,  where  the  Thought 
is  fo,  and  the  manner  of  Convey- 
ance Equal  to  it ;  fome  Defeds  will 
always  be  found  in  the  beft  Pictures, 
whereas  there  are  Sublime  Paflages 
in  Writers  where  the  Words  are  not 
only  the  mod  Apt,  and  proper,  but 
the  mod  Beautiful :  This  neverthe- 
lefs  is  to  the  honour  of  Our  Art.  No 

Man 


r  2$$ ; 

Man  yet  has  arriv'd  to  Excellency 
in  All  the  Parts  of  it :  That  is  the 
Task  of  an  Angel,  or  fome  An- 
gelick  Man,  fuch  as  has  not  yet  ap- 
peared. <ftafaelley  and  Others  have 
reach'd  the  Sublime,  and  rofe  as 
high  as  Homer,  or  Demoftbenes  $  but 
you  can  never  fee,  I  fay  not  an  In- 
tire  Picture,  or  Figure,  but  even  a 
Single  Head  without  at  the  fame  time 
feeing  Something  amifs  :  Whereas 
in  Writers  you  often  have  their  Beau- 
tiful Parts  Detach'd,  and  Perfect. 

But  the  Sublime,  as  the  Crown  in 
the  State  hides  all  Defe&s  5  it  fills 
and  fatisfies  the  Mind,  nothing  ap- 
pears to  be  wanting  5  nothing  to  be 
amifs,  or  if  it  does  'tis  eafily  for- 
given. All  Faults  die,  and  vanifli  in 
prefence  of  the  Sublime,  which  when 
it  appears  is  as  f  the  Sun  traVerfeng 
the  Vafi  Vefert  of  the  Sky. 

Longinus 


t  Pindar, 


(  *$6  ) 

Longinits  rightly  accounts  for  the 
Defe&s  that  are  feen  in  Men  that 
have  attained  Sublimity,  their 
Minds  (he  fays)  intent  upon  what 
is  Great  cannot  attend  to  Little 
things  5  and  indeed  the  Life,  ahd 
Capacity  of  a  Man  are  Inefficient 
for  Both,  and  even  for  All  that 
is  Great  in  Painting.  But  who  would 
not  rather  be  Demojihenes,  than  Hy- 
perides,  though  One  of  thefe  had  no 
Faults,  and  the  Other  many  ?  This 
Other  had  the  Sublime  !  He  was 
Admirable,  not  meerly  Irreproacha- 
ble :  (  I  am  ftill  fpeaking  after  Lon- 
g'mus.)  When  we  fee  the  Sublime  it 
Elevates  the  Soul,  gives  her  a  higher 
Opinion  of  her  Self,  and  fills  her 
with  Joy,  and  a  Noble  kind  of 
Pride,  as  if  her  felf  had  produc'd 
what  flie  is  Admiring.  It  Raviflies, 
itTranfports,  and  creates  in  us  a  cer- 
tain Admiration,  mix'd  with  Afto- 
nifhment.  And  like  a  Tempeft 
drives  all  before  it. 

And 


(  2$7  ) 

And  in  uft  confefs  to  find 


In  all  things  elfe  Delight  indeed,  but  fitch 
As  tis'd,  or  not  works  in  the  Mind  no  Change  y 

Nor  Vehement  Defire  : 

But  Here 

Far  Otherwife  tranfported  I  behold. 

*  ■  Here  Pafjion  firfi  I  felt, 

Commotion  firange^  in  all  Enjoyments  elfe 
Superiour  and  Unmov'd. 

Milton. 

In  the  foregoing  Treatife  I  have 
been  (hewing  what  I  take  to  be  the 
Rules  of  Painting,  and  tho'  Any 
one  had  underftood,  and  pradtis'd 
them  all,  I  muft  yet  fay  One  thing 
is  wanting,  Go,  and  Endeavour  to 
attain  the  Sublime.  For  a  (painter 
p?ould  not  (pleafe  only,  but  Surprise. 

^lus  ultra  was  the  Motto  of  the 
Emperour  Charles  V.  whofe  Actions 
were  of  the  Sublime  kind,  and,  as 
Monfieur  St.  Evremont  finely  diftin- 
guifhes,  rather  Vaft,  than  Great : 
And  this  (hould  be  the  Motto  of  all 
that  apply  themfelves  to  any  Noble 
Art,  particularly  of  a  Painter  $  He 
S  mull 


f  2  58  ) 

muft  not  propofe  like  (pyrrhis  to 
Conquer  fuch  a  Countrey,  then  iuch 
a  One,  then  Another,  and  then 
Reft,  he  muft  refolve  like  Time  to 
be  always   going  on,  or 


Like  the  Pontick  Sea 


IVhofe  Icy  Current ,  and  Comptdfive  Conrfe 
Ne'er  knows  retiring  Ebb,  but  keeps  due  on 
Sfo  the  Propontick,  and  the  Hellefpont 

Shakefpear. 

'  He  muft  be  perpetually  Advancing. 
And  whatever  Rules  are  given  as 
Fundamental  of  the  Art  This  ultra 
like  a  Golden  Thread  fliould  be 
woven  in,  and  run  throughout  the 
whole  piece. 

To  be  contented  with  Medio- 
crity in  Art,  is  an  Argument  of  a 
Meannefs  of  Spirit  incapable  even 
of  That  5  And  though  it  be  attain'd 
'tis  a  State  cf  Infipidity,  a  kind  of 
Non-Entity  :  To  be  Remarkable 
for  Nothing,  is  not  to  Be  at  all  3 
And  lets  Eligible  than  to  be  Re- 
markably a  Blockhead. 

ft* 


r  *$9 ) 


For  who  would  lofe 


Though  full  of  Pain  this  Intellectual  Beings 
*fho[e  Thoughts  that  wander  through  Eternity^ 
fib  perifh  rather ,  [wallow' *d  up,  and  loft 
In  the  wide  Womb  of  Uncreated  night. 

Milton, 

-  He  that  upon  Trial  finds  himfelf 
incapable  of  any  Science  may  turn 
to  Something  elfe  'till  he  lights  up- 
on That  in  which  he  may  Excel,  as 
there  is  None  but  may  in  One  thing 
or  Other  $  but  he  that  does  juft 
Tollerably  well,  flops  There,  and 
never  gets  higher  in  Any  thing  5 
He  is  of  a  fort  of  Species  of  Ani- 
mals that  makes  the  tranfition  from 
Men  to  Brutes  eafy. 

When  we  propofe  only  an  exadfc 
Imitation  of  Nature  we  fhall  cer- 
tainly fall  fliort  of  it  5  So  when  we 
aim  no  higher  than  what  we  find  in 
any  One,  or  more  Matters,  we  fhall 
never  reach  their  Excellence  :  He 
that  would  rife  to  the  Sublime  muft 
form  an  Idea  of  Something  beyond 

S  2  all 


(  26o  ) 

all  we  have  yet  feen  j  or  which  Aft, 
or  Nature  has  yet  produc'd;  Paint- 
ing, Such  as  when  all  the  Excel- 
lencies of  the  feveral  Matters  are 
United,  and  their  feveral  Defeats 
avoided. 

The  greateft   Defigners    among 
the   Moderns    want  much   of  that 
exquifite  Beauty,  in  all  the  Several 
Characters,  that  is  to  be  feen  in  the 
Antique  $    the  Airs  of  the   Heads, 
even  of  (Rafaelle  himfelf,  are    Infe« 
riour    to    what  the  Ancients  have 
done  5    and    for  Grace  to  fome  of 
Guido :  the  Colouring  oi  Rubens  and 
Van  ©jeofails  fliort  of  ThatofTtf/^, 
and  Coreggio  5  and  the  Belt  Matters 
have  Rarely  Thought  like  (ftafaelle, 
or  Composed  like  (Rembrandt.  Let  us 
then  imagine  a  Picture  Defign'd  as 
the  Laocoon,  the  Hercules,  the  Apollo^  the 
Venus,  or  any  of  thefe   Miraculous 
remains  of  Antiquity  :  The  Airs  of 
Heads  like  what  is  to  be  found   in 
the  Statues,    Butts,    Bas-releifs,   or 

Medals, 


(26l    ) 

Medals,  or  like  fome  of  thofe  of 
Guldo  3  and  Colour'd  like  the  moft 
Celebrated  Colcurifts  3  with  the 
Lighted  Pencil,  and  the  moft  Pro- 
per to  the  Subjed  5  and  allj  this 
Suitably  Invented,  and  Compos'd  3 
Here  would  be  a  Pidture  !  Such  a 
one  a  Painter  fliould  Imagine,  and 
So  fet  before  him  for  Imitation. 

Nor  muft  he  ftop  Here,  but  Create 
an  Original  Idea  of  Perfe&ion.  The 
Utmoft  that  the  Beft  Mafters  have 
done,  is  not  to  be  fuppos'd  the  Ut. 
moft  'tis  poflible  for  Humane  Na- 
ture to  arrive  at  3  Leonardo  da  Vinciy 
or  Michelangelo  might  have  been 
thought  to  have  carry'd  the  Art  as 
far  as  it  could  go  had  not  ^afaeUc 
appear' d  3  As  Cimabue,  and  Giotto 
were  probably  thought  to  have  done 
in  their  Times  : 

Credette  Cimabue  nella  Pittura 

^tener  lo  Campo,  &  or  a  ha  Giotto  it  Grido 

<Si  che  lafama  di  colui  of  cur  a. 

Dante. 

S  5  Who 


(    2^2    ) 

Who  knows  what  is  .hid  in  the 
Womb  of  Time  !  Another  may 
Eclypfe  fytfaetk  $  A  new  Columbus 
may  crofs  the  Atlantic  Ocean,  and ' 
leave  the  Pillars  of  that  Hercules  far 
behind.  The  Out-lines,  and  Airs  of 
the  Bed  Antique,  with  the  Bed 
Colouring  of  the  Moderns  United 
would  do  this  5  But  More  yet  than 
This  is  not  Impoflible.  And  This 
More,  (liould  be  attempted. 

As  God  no  Model  for  the  Worlds  could  find^ 
Brit  forrad  them  in  his  Own  Eternal  Mind ; 
So  JJjould  the  Artift,  warm'd  with  Heav'nly 
fire, 

To  a  Perfection  yet  Unknown  afpire. 

This  is  the  Great  Rule  for  the 
Sublime  5  not  to  be  given  however 
'till  thofe  Fundamental  of  the  Art 
have  been  well  Known,  and  Pra- 
6tifed  3  'tis  to  be  Open'd  when  a 
Man  has  got  far  on  his  way,  as  the 
Commifilons  of  Admirals,  or  Ge- 
nerals going  on  fome  great  Expe- 
dition frequently  are.   The  Sublime 

difdains 


(  263  ) 

difdains  to  be  Trammelled,  it  knows 
no  Bounds,  'tis  the  Sally  of  Gre  at 
Genius's,  and  the  Perfection  of  Hu- 
mane Nature  5  but  like  Milton's  Pa- 
radife 

Wild,  above  Rule,  or  Art,  Enormous  Blifs  ! 

Return  me  to  my  Native  Element 
Left  from  this  flying  Steed,  unrein' fd  fas  once 
Bellerophon  tho'  from  a  lower  Clime) 
Bifmounted,  on  the  Aleian  field  I  fall 
Erroneous,  there  to  wander,  and  forlorn. 

Milton. 

I  have  Now  done  as  much  as  may 
reafonably  be  judg'd  to  come  to  my 
Share  to  fhew  my  hearty  Love  to 
my  Profeffion,  having  Thus  Sacri- 
ficed a  great  many  of  thofe  Hours 
which  would  otherwife  have  been 
given  (as  they  ought)  to  Reft,  and 
Diverfion  5  much  more  might  be 
added,  for  the  Subject  is  a  Noble  and 
a  Copious  One  $  But  I  muft  take 
leave  to  recommend  what  is  further 
to  be  done  to  fome  Other  hand, 
without  the  Common  Flourifli  of 
Excufing  my  felf  upon  account  of 

S  4  Inabi- 


( 2*4. ) 

Inability  ^  tho'  I  am  alfo  very  Sen- 
fible  of  That.  But  the  true  Reafon 
of  my  declining  it  is  That  juft  now 
given. 

As  for  the  Prefent  Work  Nq 
body  can  be  more  ready  to  Say, 
than  I  to  Acknowledge,  that  'tis 
not  fo  Well  as  it  Should  be :  But  as 
in  Drawings  thofe  are  Good  that 
anfwer  their  End  5  if  no  more  than 
the  Compofition  (for  example)  is 
pretended  to  'tis  impertinent  to  fay 
they  are  Incorrect  3  Here  the  Reader 
ftiould  diftinguifli  between  the  Wri- 
ter, and  the  Tainter  :  My  Bufinefs 
is  Painting  :  If  I  have  fucceeded  to- 
lerably well  in  That  Character  the 
Publick  has  no  Reafon  to  Com- 
plain. Such  as  it  is,  and  fuch  as  my 
Abilities,  and  the  proportion  ot 
Time,  and  Application  I  have 
thought  it  reafonable  for  me  to  be- 
flow  has  enabled  me  to  make  it, 
1  now  offer  it  to  the  World,  tho'  I 
was  not  refolv'd  fo  to  do  when  I 

began 


began  to  Write.  I  remember  to 
have  heard  a  Story  which  (like  o- 
thers  told  on  fuch  Occafions)  is  not 
to  be  too  ftridtly  apply'd,  however 
the  Reader  may  do  as  he  thinks  fit. 
A  Man  of  Quality,  Sir  (peter  Lely's 
intimate  Friend,  was  pleafed  to  lay 
to  him  one  Day,  For  God's  Jake,  Sir 
Peter,  how  came  you  to  haVe  fo  great 
a  Reputation  f  You  know  I  know  you  are 

no  (painter. My  Lord,  1  kjiow  I  am 

not ,  (But  I  am  the  fieft  you  ha\>e. 


FINIS. 


Br 


(2<57) 


THE  following  Hiftorical,  and 
Chronological  Lift  (as  to  the 
main  of  it)  I  took  the  Pains  to 
make  fome  Years  ago  for  my  Own 
ufe.  I  have  been  tolerably  Careful 
in  it,  fo  that  I  believe  there  arc  not 
many  Miftakes.  Where  I  could  find 
no  Account  of  the  Time  of  a  Ma- 
iler's Birth,  his  Place  in  the  Lift  will 
{hew  whereabouts  it  Probably  was- 
The  Double  Dates  are  the  different 
Accounts  of  Authors,  the  moft  con- 
fiderable  is  that  of  Correggio^  I  have 
been  determined  to  put  him  fo  low 
upon  the  Authority  of  a  Manufcript 
of  Father  %efta,  a  late  Connoiffeur 
at  <!{ome,  and  who  befides  his  infi- 
nite Diligence  in  thefe  Matters,  and 
a  particular  Regard  for  Correggio, 
has  had  very  great  Opportunities  of 
being  rightly  informed,  considering 
the  Diftance  of  Time,  The  Ac- 
count of  the  Degrees  in  which  fome 
of  the  moft  Eminent  of  thefe  Ma- 
i  fters 


fters  excelled  is  fcatterd  up  and 
down  in  the  preceding  Difcourfe  3 
but  of  This  you  may  fee  farther  at 
the  end  of  a  fmall  Book  of  Mr.  de 

(piles,  printed  Anno    1708.     Cours  de 
Teinture  par  Trincipes.-   He  has  made 
a  Scale,  the    higheft    Number    of 
which  is  1  8,  and  denotes  the  high- 
eft    Degree   to  which   any  one  has 
arriv'd  that  we  know   of  5  then    he 
fuppofes  the  Art  to  confift  of  Com- 
pojttion,    Deftgn,   Colouring,    and    £x- 
prejjion,  of  which  he  makes  a  feve- 
ral  Column,    and  in   thefe  puts  his 
Number  according  as  he  judges  the 
Mafter  whofe  Name  he  applies  them 
to  has  merited.     The  thing  is  Cu- 
rious, and  Uicful  5  but  fome  confi- 
derable  Parts  of  Painting,   being  o- 
mitted  it  gives  not  a  jull  Idea  ot  the 
Mailers.    For    example,    according 
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giano.    Whereas  had  he  brought  Im 

Vention, 


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Matter  right,  fuppofing  he  had  al- 
lotted the  juft  Degrees  5  which  nei- 
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♦ 


UNIVERSITY  OF  CALIEORNIA  LIBRARY 

Los  Angeles 
This  book  is  DUE  on  the  last  date  stamped  below. 


otivfl* 


A0P  0  4  1990 


490 

m  i  o  as; 
NOV  04 1991 


*J* 


3  1158  00095  4130 


ND 
1130 
R39e 
1725